Huckleberry Finn is not irrational in being unmotivated to follow his explicit judgments of rightness and wrongness. Philosophers have previously judged Huck to be irrational, subject to weakness of will, in being unable to act on his moral judgment. But their interpretation rests on incorrect analyses of weak will and of the emotions on which Huck does act. I also argue that such emotion based motivation is not of the kind that could be rationally required. The character of (...) Huckleberry Finn therefore implies that rational agents need not be morally motivated. (shrink)

Huck Finn’s struggles with his conscience, as depicted in Mark Twain’s famous novelThe Adventures of Huckleberry Finn(AHF) (1884), have been much discussed by philosophers; and various philosophical lessons have been extracted from Twain’s depiction of those struggles. Two of these philosophers stand out, in terms of influence: Jonathan Bennett and Nomy Arpaly. Here I argue that the lessons that Bennett and Arpaly draw are not supported by a careful reading of AHF. This becomes particularly apparent when we (...) consider the final part of the book, commonly referred to, by literary scholars, as ‘the evasion’. During the evasion Huck behaves in ways that are extremely difficult to reconcile with the interpretations of AHF offered by Bennett and Arpaly. I extract a different philosophical lesson from AHF than either Bennett or Arpaly, which makes sense of the presence of the evasion in AHF. This lesson concerns the importance of conscious moral deliberation for moral guidance and for overcoming wrongful moral assumptions. I rely on an interpretation of AHF that is influential in literary scholarship. On it the evasion is understood as an allegory about US race relations during the 20-year period from the end of the US Civil War to the publication of AHF. (shrink)

In this paper1 I shall present not just the conscience of Huckleberry Finn but two others as well. One of them is the conscience of Heinrich Himmler. He became a Nazi in 1923; he served drably and quietly, but well, and was rewarded with increasing responsibility and power. At the peak of his career he held many offices and commands, of which the most powerful was that of leader of the S.S. - the principal police force of the (...) Nazi regime. In this capacity, Himmler commanded the whole concentration-camp system, and was responsible for the execution of the so-called ‘final solution of the Jewish problem’. It is important for my purposes that this piece of social engineering should be thought of not abstractly but in concrete terms of Jewish families being marched to what they think are bath-houses, to the accompaniment of loud-speaker renditions of extracts from The Merry Widow and Tales of Hoffman, there to be choked to death by poisonous gases. Altogether, Himmler succeeded in murdering about four and a half million of them, as well as several million gentiles, mainly Poles and Russians. The other conscience to be discussed is that of the Calvinist theologian and philosopher Jonathan Edwards. He lived in the first half of the eighteenth century, and has a good claim to be considered America’s first serious and considerable philosophical thinker. He was for many years a widely-renowned preacher and Congregationalist minister in New England; in 1748 a dispute with his congregation led him to resign (he couldn’t accept their view that unbelievers should be admitted to the Lord’s Supper in the hope that it would convert them); for some years after that he worked as a missionary, preaching to Indians through an interpreter;, then in 1758 he accepted the presidency of what is now Princeton University, and within two months died from a smallpox inoculation. Along the way he wrote some first-rate philosophy: his book attacking the notion of free will is still sometimes read.. (shrink)

This paper argue that moral ignorance does not excuse. Nobody is off the hook for doing something bad simply because she did it believing ii to be right. The paper uses the Arpaly view that cases of Akrasia can be praiseworthy as one premise in the argument.

Huck Finn’s emotional responses constitute perfectly good moral reasons not to betray his friend, even though Huck is unable to recognise them as such.

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)

Bernard Williams distinguishes moral incapacities – incapacities that are themselves an expression of the moral life – from mere psychological ones in terms of deliberation. Against Williams I claim there are examples of such moral incapacity where no possible deliberation is involved – that an agent's incapacity may be a primitive feature or fact about their life. However Michael Clark argues that my claim here leaves the distinction between moral and psychological incapacity unexplained, and that an adequate understanding of the (...) kind of examples I suggest must involve at least some implicit reference to deliberation. In this paper I attempt to meet Clark's objection and further clarify my account of primitive moral incapacities by considering an example from Mark Twain's Huckleberry Finn. What this example shows, I argue, is how our characterization of an agent's response as a moral incapacity turns not on the idea of deliberation but on the way certain primitive incapacities for action are connected to a larger pattern of response in an agent's life, a pattern of response that itself helps to constitute our conception of that agent's character and the moral life more generally. (shrink)

Mr Bennett in his interesting essay in the April 1974 issue of Philosophy claims that ‘… in a particular case sympathy and morality may pull in opposite directions. This can happen not just with bad moralities, but also with good ones like yours and mine.’ By sympathy he says he means ‘every sort of fellow-feeling’. Although a triumph of sympathy over morality may be a good thing, it also represents a triumph of irrationality over reason.

This paper examines the Adventures of Huckleberry Finn in the light of the early Confucian thinker Mencius, arguing in essence that Mencian theories of moral development and self-cultivation can help us to recover the moral significance of Twain's novel. Although 'ethical criticisms' of Huckleberry Finn share a long history, I argue that most interpretations have failed to appreciate the moral significance of Jim, either by focusing on the moral arc of Huck in isolation or by casting (...) Jim in one-dimensional terms simply as a symbol or example of human dignity. By invoking the Mencian ideas of 'moral power' ( de ), human goodness, and the virtues of sympathy and humaneness, this study attempts to bring into relief the many ways that Jim, particularly in his role as an exemplar, functions as an active force in the moral life of Huck. It is hoped that this revised Mencian reading of Huckleberry Finn can restore the moral center of the novel and contribute to the growing discussion on the virtues in moral education. (shrink)

At least some (perhaps the most serious) moral problems, public as well as private, concern the ways in which we should construe and specify the problems we face. The present paper, as the subtitle indicates, reexamines the conscience of Huckleberry Finn, which means both that I provide a close reading of key chapters of Mark Twain’s great novel and that I engage Jonathan Bennett’s well-known and oft-cited paper, “The Conscience of Huckleberry Finn.” Bennett tells us, early (...) in his paper, that an episode in chapter 16 of the novel “brilliantly illustrates how fiction can be instructive about real life.”1 I agree that fiction can teach us about life—though of course living beings must judge fiction’s .. (shrink)

The aim of this article is twofold. Against the traditional interpretation of ‘the conscience of Huckleberry Finn’ (for which Jonathan Bennett's article with this title is the locus classicus) as a conflict between conscience and sympathy, I propose a new interpretation of Huck's inner conflict, in terms of Huck's mastery of (the) moral language and its integration with his moral feelings. The second aim is to show how this interpretation can provide insight into a particular aspect of moral (...) education: learning a moral language. A moral education that has a proper regard for the flexibility of moral language and the importance of the integration of moral language and (pre-)moral feelings should prevent such conflicts as Huck experienced from arising. (shrink)

Jonathan Bennett, Nomy Arpaly, and others see in Huckleberry Finn's apparent praiseworthiness for not turning Jim in (even though this goes against his own moral judgments in the matter) a model for an improved, non-intellectualist approach to moral appraisal. I try to show – both on Aristotelian and on independent grounds – that these positions are fundamentally flawed. In the process, I try to show how Huck may be blameless for lacking what would have been a praiseworthy belief (...) (that I should help Jim), hence, blameless for not acting on this belief; but being ‘blamelessly unpraiseworthy’ is not the same thing as being praiseworthy. (shrink)

In his influential paper 'The Conscience of Huckleberry Finn', Jonathan Bennett suggests that Huck's failure to turn in the runaway slave Jim as his conscience — a conscience distorted by racism — tells him he ought to is not merely right but also praiseworthy. James Montmarquet however argues against what he sees here as Bennett's 'anti-intellectualism' in moral psychology that insofar as Huck lacks and so fails to act on the moral belief that he should help Jim his (...) action is not praiseworthy. In this paper I suggest that we should reject Montmarquet's claim here; that the case of Huck Finn indicates rather how many of our everyday moral responses to others do not and need not depend on any particular moral beliefs we hold about them or their situation. (shrink)

Cases of akratic behavior are generally seen as paradigmatic depictions of the knowledge-action gap (Darnell et al 2019): we know what we should do, we judge that we should do it, yet we often fail to act according to our knowledge. In recent decades attention has been given to a particular instance of akratic behavior, which is that of “inverse akrasia”, where the agent possesses faulty moral knowledge but fails to act accordingly, thus ending up doing the right thing. In (...) particular, two literary examples are considered as exemplifying this kind of akratic situation: Huckleberry Finn (Arpaly & Schroeder 1999, Arpaly 2000, Hursthouse 1999, Kleist 2009, Holton manuscript) and Neoptolemus as understood by Aristotle (NE; Arpaly & Schroeder 1999). In this paper I will argue that those of Neoptolemus and Huck Finn are not cases of inverse akrasia (Holton manuscript) but are much better explained as instances of what Williams (1993) called “moral incapacity”. In particular, the reason why they fail to act according to their original judgments is due to a lack of motivation to act accordingly, which is grounded in their moral self-identities (Blasi 1984; Vigani 2016). The paper will unfold as follows: I will, first, argue that neither Neoptolemus nor Huck Finn show akratic behavior; thus, they cannot be legitimately labeled as “inverse akratics” (par 1.); then, I will argue that they act the way they do notwithstanding their faulty judgments because they are effectively motivated to do so. Such motivation originates in their moral self-identities and is experienced through the threat of self-betrayal (par 2); finally, I will argue that when an agent is motivated to act in a way that is integral with her moral self-identity, acting otherwise is experienced as something one cannot ultimately do; that is, as a moral incapacity (par 3). This “cannot” is neither a metaphor for an “I shouldn’t”, nor an instance of what has been recently labeled a “moral impossibility” (Caprioglio Panizza 2020, 2021), since it does not arise from the normative force of deontic judgments, and it is neither physically nor psychologically impossible for the agent to act otherwise. (shrink)

Huckleberry Finn believes that by helping Miss Watson’s slave Jim escape to freedom, he is doing something wrong. But Huck does it anyway—and many want to give him moral credit for this choice. If Huck is to be worthy of such moral esteem, however, it seems there must be some implicit way of appreciating and responding to considerations as moral reasons that does not involve explicitly believing that those considerations are moral reasons. This chapter argues that an agent (...) like Huck can implicitly appreciate a consideration as a moral reason to φ by presenting it under the light of a particular phenomenologically-mediated mode of presentation: one that presents that consideration via the light of a felt directive force “pointing” towards φ-ing—lending weight to it, or soliciting it—in a particular authoritative way. Thus, I suggest, Huck may be understood on analogy with a young jazz piano virtuoso. As she may appreciate that the G-seventh chord having been played just so constitutes an aesthetic reason for her to ease into the C-major-seventh chord just so by virtue of experiencing the former as pointing or directing her to the latter, so also, I propose, Huck may appreciate the considerations speaking in favor of helping Jim as moral reasons to help Jim by virtue of experiencing them as pointing or directing him to help Jim. The chapter also examines and rejects four alternative proposals for how to account for implicit reasons-appreciation: first, a de re account of appreciation and then three additional accounts of appreciation derived from major theories of mental representation (inferentialist, causal tracking, and functionalist theories). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Morality of Huck FinnCarol FreedmanA familiar refrain is that emotions threaten our capacity for moral judgment because they infringe on our ability to be impartial. Some hold that emotions lead us to serve personal rather than impersonal ends. And most Kantians argue that even when emotions influence us to pursue impartial ends, they still fail to be moral motives. Barbara Herman argues, however, that emotions can play an (...) important role in a Kantian model of moral judgment. 1 But her description of the moral role of emotions ultimately falls short. 2The problems with Herman’s argument are illustrated by a passage from Huckleberry Finn. The passage challenges a common Kantian assumption that any decision motivated by compassion or love is not a case of moral judgment. I contend that there is good reason to interpret Huck’s decision to help his friend Jim as an instance of moral judgment, even though it is also a case of acting from compassion and love. And though Herman’s theory offers a Kantian way of supporting my reading of Huck, her model fails to do justice to Huck’s case. But there is much that we can learn from the way it fails.IHuckleberry Finn is a story “which details some passages in the life of an ignorant village boy... [who has] run away from his persecuting father, and from a persecuting, good widow, who wishes to make a nice, truth-telling, respectable boy of him....” 3 The journey that follows, in which Huck is accompanied by the widow’s runaway slave, Jim, becomes a symbol of a boy’s attempt to grow up, discover his own identity, make his own decisions. In the part of the journey that has come to be known [End Page 102] as Huck’s “crisis of conscience,” we find him trying to decide whether he should help Jim escape from a slaveholder who has just captured him, or whether he should write to Miss Watson to tell her the where-abouts of her slave (pp. 168–69). On the face of it, Huck seems torn between the voices of conscience and temptation. Writing to Miss Watson, as he describes it, is “the right thing and the clean thing.” To do otherwise would just confirm his “wickedness”: “stealing a poor old woman’s nigger,” he says, “who hadn’t ever done me no harm.” But Huck also loves Jim. He says: “I couldn’t seem to strike no places to harden me against him, but only the other kind.” So Huck seems torn between his sense of what’s right and his compassion. When, in exas-peration, he finally decides not to write the letter, but chooses instead “to go to hell,” it sounds like compassion triumphs over conscience. 4But is it necessarily the case that just because Huck acts from compassion that he does not conceive of what he’s doing as right—that he does not engage in moral judgment? I think it is most plausible to say that when Huck finally decides not to turn Jim in, he comes to a more heart-felt conception of what’s right, not that he does what he believes is wrong.Even though Huck describes helping Jim as “stealing,” and sinful, and the sort of thing for which he will “go to hell,” it is not clear that he thinks it is the wrong thing to do. Huck’s deliberation is tied up with thoughts of social condemnation and eternal punishment. He is obsessed with the pain he will endure if he does not write to Miss Watson. His thoughts begin with the pain of social condemnation (“And then think of me! It would get all around, that Huck Finn helped a nigger to get his freedom”); but they quickly turn to the pain of eternal punishment (“And at last, when it hit me all of a sudden that here was the plain hand of Providence slapping me in the face and letting me know my wickedness was being watched all the time from up there in heaven... I most dropped in my tracks I was so scared”). But Huck describes the... (shrink)

Drawing upon Jonathan Bennett’s article “The Conscience of Huckleberry Finn,” a work which claims to show the role that emotions play in moral argument, this paper more closely considers the contextual clues of "Huck Finn" to determine the moral commitments that truly guide Huck’s thinking about moral principles. In opposition to Bennett’s reading of Twain, the paper argues that it is Huck’s application of his morality (a system of moral reasoning based on principles) that is bad, and (...) so his moral behavior cannot be explained by acting purely out of sympathy. In addition, to arguing for this alternative reading of Twain’s work, the paper points out how Huck’s reasoning about moral principles can be used to fend off ethical nihilism and is analogous to Galileo’s thought experiment concerning motion. (shrink)

What is that makes an act subject to either praise or blame? The question has often been taken to depend entirely on the free will debate for an answer, since it is widely agreed that an agent’s act is subject to praise or blame only if it was freely willed, but moral theory, action theory, and moral psychology are at least equally relevant to it. In the last quarter-century, following the lead of Harry Frankfurt’s (1971) seminal article “Freedom of the (...) Will and the Concept of a Person,” the interdisciplinary nature of the question has been emphasized by various authors. Going beyond the boundaries of the traditional free will debate, they have attempted to describe the requirements for agent accountability by appeal to theories of personality, rational agency, and ethical choice. The approach has been a breath of fresh air in the often-stagnant free will debate, bringing new considerations to bear and provoking new lines of argument, and it is an approach that we will adopt in this paper. In the following pages, we hope to show that an under-noticed phenomenon of moral psychology, inverse akrasia, exemplified by Huckleberry Finn, has something to contribute to the understanding of agency and accountability. After presenting the phenomenon in section I, we will move in section II to a quick survey of a family of Frankfurt-inspired views and a critique of them based on the phenomenon in sections III and IV. A new theory will be offered in section V, and potential objections addressed in the final section of the paper. (shrink)

In the following essay, I argue that in the case of some works of art, moral evaluation should not play a role in artistic appraisal. While I reject the strong ethicist’s view—the view that moral evaluation may inform the artistic evaluation of any artwork—I will not do so in favor of the aestheticist’s position. The aestheticist argues for a rigid distinction between the moral and aesthetic evaluation of an artwork. On this view, the moral status of the work is independent (...) of and irrelevant to artistic value. This view would allow us, for example, to evaluate Leni Reifenstahl’s film The Triumph of the Will as a superior work of cinematic art, while at the same time condemning it on moral grounds. Rather than support a strict separation of aesthetic and moral elements in an artwork, I will suggest that in the case of certain types of artwork, it is inappropriate to use moral criteria in their artistic evaluation—even though the work’s moral content contributes to its artistic value. This is the case in artworks that (1) are “interrogative” in form and (2) have moral dilemmas as their principal theme. Briefly put, an interrogative artwork is one that poses a question or problem that remains unresolved in the work. I will begin by explaining in more detail what I mean by an interrogative artwork. Using the example of Duchamp’s “ready-made” sculpture Fountain, I will argue that it is inappropriate to artistically evaluate such works by appeal to criteria that they themselves call into question. I will then turn to the specific issue of morally interrogative artworks. I will consider Mark Twain’s The Adventures of Huckleberry Finn as a paradigmatic case of an interrogative artwork that poses an unresolved moral problem, and will contrast my own rejection of the moral appraisal of the novel to Wayne Booth’s attempt to provide a morally informed positive assessment of the novel. (shrink)

Feminists have found Arendt helpful in articulating a theory of judgment across cultural differences. Embodiment enters this discussion, usually, through attention to enlarged mentality. In contrast, I approach embodiment and judgment by looking at undertheorized connections with Arendt’s conception of “thinking.” Drawing on a discussion of Boethius and Huckleberry Finn, I suggest that persons are led to thinking by lived contradictions, that is, by instances in which their experiences cannot be interpreted through dominant norms in their society or (...) culture. I also consider a claim that oppression hinders a person’s ability to be receptive to enlarged mentality, thus making it difficult for oppressed persons in Third World contexts to exercise judgment. In response, I examine how an oppressed person is receptive to meaning-making through negotiating lived contradictions. (shrink)

I argue that a right action has moral worth if and only if it is done for the right reasons - that is, for its right-making features. The reasons the agent acts on have to be identical to the reasons for which the action is right. I argue that Kantians are wrong in thinking that a right action has moral worth iff it is done because the agent thinks it is right, giving examples of morally worthy actions that are done (...) by agents who think they are wrong (Huckleberry Finn) and right actions done "because they are right" that have no moral worth. I also discuss degrees of moral worth as well as blameworthiness. (shrink)

In Huckleberry Finn, a thirteen-year old white boy in antebellum Missouri escapes from his abusive father and befriends a runaway slave named Jim. On a familiar reading of the novel, both Huck and Jim are, in their own ways, morally impressive, transcending the unjust circumstances in which they find themselves in to treat each other as equals. Huck saves Jim’s life from two men looking for runaway slaves, and later Jim risks his chance at freedom to save Huck’s (...) friend Tom. I want to complicate the idea that Huck and Jim are morally commendable for what they do. More generally, I want to explore how oppression undermines the moral agency of the oppressed, and to some degree, the oppressor. In §1 I take a careful look at Jim’s choice, arguing that his enslavement compromises his moral agency. In §2 I show how Jim’s oppression also shapes the extent to which Huck can be praiseworthy for his action. In §3, I consider the consequences for thinking about the moral agency of the oppressed, and in §4 I explore the limitations of the concept of moral worth for theorizing in cases of oppression. (shrink)

The answer to the title question is “No.” The first section argues, using the example of Huckleberry Finn, that rational agents need not be motivated by their explicit judgments of rightness and wrongness. Section II rejects a plausible argument to the conclusion that rational agents must have some moral concerns. The third section clarifies the relevant concept of irrationality and argues that moral incoherence does not equate with this common relevant concept. Section IV questions a rational requirement for (...) prudential concern and whether a requirement for moral concern would follow from it. Section V examines the rationality of amoralists and partial amoralists, and Sect. VI closes with speculation on why there might seem to be a rational requirement to be morally motivated. (shrink)

The first of the following two narratives is a personal reflection by the instructor of “Narrative Approaches to Bioethics,” an elective in the PhD program at the Albert Gnaegi Center for Health Care Ethics at Saint Louis University. The author argues that perhaps the primary goal of medical ethics education should be to show how to construct plausible and defensible interpretations of human experience and sensibly resolve the problems that these happenings occasion. To that end, the author engaged the sympathetic (...) reading capacities of his students by “thwarting” their expectations for medicalized case studies to “dissect” and instead chose works that invited careful readings of morally-complex literary works. One such reading was Huckleberry Finn, which the class read on the book’s 100th anniversary. Huckleberry Finn chronicles Huck’s search for truth, goodness and justice on the Mississippi River–a location the class explored on a field trip. The second narrative is the personal reflection of one of the students in this class and attests to the moral pedagogical power of Huck Finn. He relates the insights gleaned from a particular passage where Huck confronts moralistic dogmas. (shrink)

To have moral worth an action not only needs to conform to the correct normative theory ; it also needs to be motivated in the right way. I argue that morally worthy actions are motivated by the rightness of the action; they are motivated by an agent's concern for doing what's right and her knowledge that her action is morally right. Call this the Rightness Condition. On the Rightness Condition moral motivation involves both a conative and a cognitive element—in particular, (...) it involves moral knowledge. I argue that the Rightness Condition is both necessary and sufficient for moral worth. I also argue that the Rightness Condition gives us an attractive account of actions performed under imperfect epistemic circumstances: by agents who rely on moral testimony or by those who, like Huckleberry Finn, have false moral convictions. (shrink)

Part I. Philosophy of novels. 1. Introduction: philosophical content and literary value -- 2. Interpreting novels -- 3. The sun also rises: incompatible interpretations -- 4. The appeal of the mystery -- Part II. Philosophy in novels. 5. Moral development in Pride and prejudice -- 6. Huckleberry Finn and moral motivation -- 7. What we learn about rules from The cider house rules -- 8. Nostromo and the fragility of the self.

My research focuses on the moral evaluation of people’s motivations. A popular recent view in Philosophy is that good people are motivated by the considerations that make actions morally right (the “right-making features”). For example, this view entails that a Black Lives Matter protester can be a good person if she is motivated to engage in protest by the thought that it will bring about equality, or justice, since this is what makes engaging in protest morally right. But this view (...) entails that the protester cannot be a good person if she engages in protest because it is morally right. I think that this is a serious mistake. My view is that it is good to be explicitly committed to acting rightly and motivated by the moral rightness of one’s actions. More specifically, I explore the nature and defend the value of a complex state that I call "trying to act rightly". This comprises (a) wanting to act rightly, (b) thinking about which actions are right, and (c) doing the things that you think are right, because they are right. The three papers of my Dissertation each make part of the case for trying to act rightly. My first paper, “Praiseworthy Motivations”, addresses the view that it is good to be motivated by the right-making features but not good to be motivated to act rightly. I argue that this view rests on poorly-drawn comparison cases that are not genuine minimal pairs, and that well-constructed cases show these two types of motivation to be equally good. I address the worry that trying to act rightly leads people with false moral beliefs to act wrongly, by noting that this also applies to motivation by right-making features, since people can be motivated by a right-making feature while being mistaken about which acts have this feature. I then argue that we should distinguish carefully between motivations, actions, and beliefs when evaluating these well-meaning but morally mistaken agents. The second paper, “We Can Have Our Buck and Pass It, Too”, addresses the view that the fact that an act is morally right is not a genuine reason to perform it, and that our reasons for action are instead provided by the right-making features. I argue that this view rests on a confused picture of moral metaphysics, which would rule out any case in which one reason to perform an act is partially metaphysically constituted by another fact that is also a reason to perform the same act – as, for example, when a salad both is healthy and contains vegetables. I then sketch an alternative picture of moral metaphysics, on which genuine reasons for action can be metaphysically related to one another. My third paper, “Accidentally Doing the Right Thing”, uses general reflections on the nature of deliberate action and its relationship to praiseworthiness to argue that someone is only praiseworthy for acting rightly if she was trying to act rightly. I apply this idea to the philosophical debate on moral worth, defending the Kantian view that actions have moral worth just in case they are instances of someone’s trying to act rightly and succeeding. This is a radical departure from the most popular contemporary view on moral worth, and requires a re-evaluation of the main case discussed in this literature: that of Huckleberry Finn. (shrink)

Mark Twain, the "Father of American Literature," and renowned humorist, satirist, and commentator on humanity and American life, is best known for his classic, Adventures of Huckleberry Finn. Twain's body of work, however, is expansive; from Adventures of Tom Sawyer and A Connecticut Yankee in King Arthur's Court to the travelogue The Innocents Abroad and essays on human nature, religion, science, and literature, no aspect of life is left untouched by Twain. His portrayal of American life, ripe with (...) the contradictions of America's ideals and its actual practices, as well as his characters, at once fantastical and completely human, provide a window onto humanity and social life. As the third book in the Great Authors and Philosophy series, Mark Twain and Philosophy reveals deeper issues raised by Twain's work and speaks to his continued relevance as a social commentator interrogating issues fundamental to our lives. From slavery, freedom, and human rights, to science, parapsychology, and religion, this book exposes how Twain's body of work touches every corner of human experience. (shrink)

While Plato recommended expelling poets from the ideal society, W. H. Auden famously declared that poetry makes nothing happen. The 19 contributions to the present book avoid such polarized views and, responding in different ways to the “ethical turn” in narrative theory, explore the varied ways in which narratives encourage readers to ponder matters of right and wrong. All work from the premise that the analysis of narrative ethics needs to be linked to a sensitivity to esthetic form. The ethical (...) issues are accordingly located on different levels. Some are clearly presented as thematic concerns within the text considered, while others emerge through the presentation of character and event by means of particular narrative techniques. The objects of analysis include such well-known or canonical texts as Biblical Old Testament stories, Mark Twain’s Huckleberry Finn, J. R. R. Tolkien’s The Lord of the Rings, Vladimir Nabokov’s Lolita, Jonathan Littell’s The Kindly Ones, Ann Radcliffe’s The Italian and Matthew Lewis’s The Monk. Others concentrate on less-well-known texts written in languages other than English. There are also contributions that investigate theoretical issues in relation to a range of different examples. (shrink)

Jonathan Bennett (1974) maintains that Huckleberry Finn’s deliberations about whether to return Jim to slavery afford insight into the tension between sympathy and moral judgment; Miranda Fricker (2007) argues that the trial scene in To Kill a Mockingbird affords insight into the nature of testimonial injustice. Neither claims merely that the works prompt an attentive reader to think something new or to change her mind. Rather, they consider the reader cognitively better off for her encounters with the novels. (...) Nor is her cognitive improvement restricted to acquiring new justified true beliefs about the works themselves. What the reader gleans is supposed to enhance her knowledge or understanding of the .. (shrink)

While Plato recommended expelling poets from the ideal society, W. H. Auden famously declared that poetry makes nothing happen. The 19 contributions to the present book avoid such polarized views and, responding in different ways to the “ethical turn” in narrative theory, explore the varied ways in which narratives encourage readers to ponder matters of right and wrong. All work from the premise that the analysis of narrative ethics needs to be linked to a sensitivity to esthetic form. The ethical (...) issues are accordingly located on different levels. Some are clearly presented as thematic concerns within the text considered, while others emerge through the presentation of character and event by means of particular narrative techniques. The objects of analysis include such well-known or canonical texts as Biblical Old Testament stories, Mark Twain’s Huckleberry Finn , J. R. R. Tolkien’s The Lord of the Rings , Vladimir Nabokov’s Lolita , Jonathan Littell’s The Kindly Ones , Ann Radcliffe’s The Italian and Matthew Lewis’s The Monk . Others concentrate on less-well-known texts written in languages other than English. There are also contributions that investigate theoretical issues in relation to a range of different examples. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 29, Number 2, November 2003, pp. 305-325 Hume, Sympathy, and the Theater BRIAN KIRBY Every movement of the theater, by a skillful poet, is communicated, as it were by magic, to the spectators; who weep, tremble, resent, rejoice, and are inflamed with all the variety of passions, which actuate the several personages of the drama. (EPM 5.2.26; SBN 221-2) Much has been written recently about the (...) role of sympathy in Hume's moral theory. That may indeed be its most important use. But it seems from a number of illustrations he uses that it has broader applications, in particular, application to a spectator's appreciation of drama. The problem some see with this broader application is that it conflicts with the basic definition of sympathy as a process by means of which impressions are shared. The actors on the stage would not seem to have the same passions which "inflame" the spectators. Worse, the spectators do not believe in their hearts that the passions which inflame them have real correlates. At first blush, "sympathy" might mean any one of several things. In "The Conscience of Huckleberry Finn," for example, Jonathan Bennett says, "As for 'sympathy': I use this term to cover every sort of fellow-feeling, as when one feels pity over someone's loneliness, or horrified compassion over his pain, and when one feels a shrinking reluctance to act in a way which will bring misfortune to someone else."1 However, fellow-feeling is not a sharing of feelings in Hume's sense. Alvin I. Goldman comes closer to Hume's meaning in a narrow description of empathy: "To empathize with someone, in its Brian Kirby, Associate Professor of Philosophy Emeritus at St. Lawrence University, is at 172 Miner Street Road, Canton, NY 13617, USA. e-mail: [email protected] 306 Brian Kirby most frequent sense, is to sympathize or commiserate, which involves shared attitudes, sentiments, or emotions."2 Still, Hume's sympathy is not the commiseration but rather what is involved in the commiseration, the shared attitudes, sentiments, and emotions. "No quality of human nature," says Hume, "is more remarkable, both in itself and in its consequences, than that propensity we have to sympathize with others, and to receive by communication their inclinations and sentiments, however different from, or even contrary to our own" (T 2.1.11.2; SBN 316). The principle of sympathy as he describes it in his technical sense is as follows: When any affection is infus'd by sympathy, it is at first known only by its effects, and by those external signs in the countenance and conversation, which convey an idea of it. This idea is presently converted into an impression, and acquires such a degree of force and vivacity, as to become the very passion itself, and produce an equal emotion, as any original affection. However instantaneous this change of the idea into an impression may be, it proceeds from certain views and reflections, which will not escape the strict scrutiny of a philosopher, tho' they may the person himself, who makes them. (T 2.1.11.3; SBN 317) If sympathy has to do with the sharing of impressions, what can one say about possible broader applications in which the correlate impression is absent? One tack to take is to dismiss the illustrative examples as aberrations or at least minor inconsistencies on Hume's part. A second is to argue that the broader applications follow reasonably, given Hume's description of the mechanism of sympathy. I propose, in this paper, to take the second tack. The above description characterizes what one might call sympathy in its normal social context in which the feelings of another are identifiable from his verbal and bodily behavior. Of course, the identification is not infallible. The other person may intend to deceive by lying or mimicking the behavior associated with a feeling. But such occasions are parasitic on normal contexts. But beyond the normal social context, there are other occasions which elicit sympathy, situations in which passions are aroused in the sympathizers for good cause, but which have no correspondent in the objects of sympathy. The case... (shrink)

The standard account of weakness of will identifies it with akrasia, that is, with action against one's best judgment. Elsewhere I have argued that weakness of will is better understood as over-readily giving up on one's resolutions. Many cases of weak willed action will not be akratic: in over-readily abandoning a resolution an agent may well do something that they judge at the time to be best. Indeed, in so far as temptation typically gives rise to judgment shift -- to (...) a tendency to change one's judgment so that one values the tempting option as the best -- weak willed action will typically be akratic. But conversely, strong willed action now looks as though it will be akratic. I argue though that it need not be, once we distinguish between actual judgment, and dispositions to judge. Within this framework, the issue of inverse akrasia looks rather different. I argue that whilst Huckleberry Finn plausibly does show weakness of will in abandoning his resolve to turn Jim in, it is far from clear that he is akratic: a point brought out well in Twain's later additions to the text. Whilst cases of inverse akrasia are clearly theoretically possible, I suggest that, given cognitive dissonance mechanisms, they are unlikely to be very common. (shrink)

My question is whether a prevalent conception of morality can admit the existence of moral delusion. The conception of morality I refer to is that of a set of rules, or principles, ‘accepted’ or ‘assented’ to by persons, which stipulate that certain kinds of human act or behaviour are permitted, or required, while other kinds are to be avoided. This conception of morality can be found virtually everywhere, outside as much as within philosophy, in anthropology, sociology, political studies, history, literary (...) criticism, psychology, and law. But it is to a particular philosophical instance that I shall attend here. The instance in question is an essay by Jonathan Bennett which appeared in this journal seven years ago under the title ‘The Conscience of Huckleberry Finn’. My reason for addressing myself to Bennett's paper will become clear as I proceed. (shrink)

According to some, when you do the right thing, your moral beliefs make no difference to your act’s moral worth. Huckleberry Finn believes he is doing something wrong in helping Jim escape slavery. Yet his act reflects well on him. Some conclude that acting rightly reflects just as well on you whether you believe you are doing something right, wrong, supererogatory, or neutral. I argue against this. Doing the right thing with certain moral beliefs can diminish the moral (...) worth of doing it. In such cases, you do the right thing in the wrong spirit. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 57-74 [Access article in PDF] An American Novelist in the Philosopher King's Court Thomas P. Crocker I MORAL PHILOSOPHY has languished long within the confines of something like the following purported dilemma: either moral discourse is the discourse of principles and rules rationally grounded, or moral discourse is the discourse of passions and personal preferences, clothed in the garments of rational justification. Alasdair MacIntyre's (...) disquieting suggestion—that our language of moral debate is nothing more than the "simulacra of morality"—provides a grim outlook for moral philosophy. 1 Indeed, when moral inquiry is conducted in terms of ethical theory, without independent grounds upon which competing arguments can meet, philosophical discourse, embedded in competing theories, seems to be only so much cacophonous clamor, rationally convincing no one except those who already accept the terms employed by their own theory. One way to avoid this philosophical effluvium produced by moral philosophy is to follow Ludwig Wittgenstein in rejecting the very terms upon which it is made (the distinction between the particular perspective and the universal standpoint), recognizing that moral inquiry begins from where we already are—the everyday world in which we find ourselves.Towards the end of avoidance here, I wish to add to this simmering background of ethical discord Mark Twain's story of The Adventures of Huckleberry Finn. 2 Twain's controversial voice provides a place for moral thinking unavailable through strictly theoretical discourse. 3 And reading Huck and Jim's story through the philosophical avoidance of Wittgenstein's latent ethical thought provides the transformative possibility of seeing the domain of the ethical in a new light. 4 [End Page 57]Although Twain boldly states at the beginning of his novel that "persons attempting to find a moral in it will be banished," 5 he does show us without the need of theory or dogma how a change in one's way of seeing is intertwined with a change in one's way of living; this connection between ways of seeing and ways of living makes possible a kind of moral transformation that characterizes the change in Huck's perception of Jim, from that of a slave to that of a friend. This moral conversion is much like the perceptual transformations that Ludwig Wittgenstein considers in his discussions of "noticing an aspect," 6 in which a shift in what one sees is connected to the background against which the perceptual object is seen and to the ways in which one is prepared to respond to it. When confronting perceptual ambiguity, as in the case of Jastrow's ambiguous duck/rabbit figure, one looks to the context and background to clarify what one sees, just as one does with semantic ambiguity. In coming to see in one way or the other, nothing is explicitly stated, nothing is put into argumentative form. And in Twain's narrative, we are not given arguments for why we should see Jim as human, nor does the narrative recount Huck's confrontations with moral arguments; rather, through his interactions with Jim, Huck is shown Jim's humanity, his friendship, and we, the readers, are shown the possibility of a moral transformation that is not determined by or grounded in rules or philosophical arguments.The moral realist might agree that such a transformation could be motivated in ways other than rational arguments, but to be legitimate, it must be possible to reconstruct the transformation according to rational considerations. The ability to "get behind" the transformation in some justificatory way is what I am denying here (as is Wittgenstein); for what one finds when one "gets behind" is another situated language game that is itself not open to question (though it could be if we direct our attention towards it). There is no final "getting behind" the things we do and the situations in which we do them, and hence there is no final justificatory argument one can give—as Wittgenstein famously says, "If I have exhausted the justifications I have reached bedrock, and my spade is turned. Then I am... (shrink)

Tamar Gendler takes on “explaining our comparative difficulty in imagining fictional worlds that we take to be morally deviant” (56), otherwise known as the puzzle of imaginative resistance. Generally speaking, readers have no trouble believing untrue factual claims such as in Alice in Wonderland or The Adventures of Huckleberry Finn, but we resist claims which advocate praise or approval of immoral acts such as murder. Gendler submits that the implied author aims to persuade the reader to change his (...) or her moral beliefs, thereby causing imaginative resistance. This paper will explain that imaginative resistance is fundamentally an interpersonal moral conflict as experienced in the ethical theory of moral subjectivism, and will suggest ways to manage imaginative resistance by looking at the whole work of fiction. (shrink)

In some ways that have been largely ignored, ethnic-group names might be similar to names of other kinds. If they are, for instance, analogous to proper names, then a correct semantic account of the latter could throw some light on how the meaning of ethnic-group names should be construed. Of course, proper names, together with definite descriptions, belong to the class of singular terms, and an influential view on the semantics of such terms was developed, at the turn of the (...) nineteenth century, from discussion of a puzzle about some differences in the cognitive value of certain statements of identity. Clearly, that a = a (e.g., that Mark Twain was Mark Twain) is trivial, and its truth could be known a priori, just by thinking. On the other hand, that a = b (e.g., that Mark Twain was Samuel Clemens) is of course informative and knowable only by empirical investigation. To solve this puzzle, Frege famously proposed that those variations in the cognitive value of statements of identity “can arise only if the difference between the signs corresponds to a difference in the mode of presentation of that which is designated.” On his view, although in the above statements of identity, the singular terms, ‘a,’ and, ‘b,’ may designate the same thing, they do so with different senses, or under different modes of presentation of that object. When the puzzling statements involving ‘a’ and ‘b’ are true, they may then be said to have exactly the same reference. But since those singular terms pick out the object of reference differently (i.e., under different senses or modes of presentation), therefore the cognitive value of these statements also varies significantly. On this account, then, the reference of a non-vacuous proper name is secured by the name’s sense, or mode of presentation, which constitutes its semantic content. And given that Fregeans (here under the influence of Russell) cash out that sense as consisting in whatever concept (or cluster of concepts) could be uniquely associated with that name, they might hold, for example, that the property of being the author of Huckleberry Finn, and that of being an American who lived his early life in Hannibal, Missouri, and later became a famous writer, amount to the senses of ‘Mark Twain,’ and ‘Samuel Clemens,’ respectively.. (shrink)

Samuel Langhorne Clemens o Mark Twain es el autor del Diario de Adán y Eva, Un yanki en la corte del rey Arturo, Las aventuras de Tom Sawyer, Las aventuras de Huckleberry Finn y otras. Este escritor norteamericano asumió la práctica literaria como un asunto que va más allá del entretenimiento: escribió para interpelar al lector. Y este detalle salta a la vista con un libro que rara veces es referenciado: Sobre la decadencia del arte de mentir, texto (...) que aborda una enfermedad axiológica en el mundo moderno: los peligros que acarrea seguir al pie de la letra los postulados universales de un Deber y una Verdad abstracta. A continuación se hace un análisis de este problema. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:François H. Lapointe PHILOSOPHY AND LITERATURE: A BIBLIOGRAPHIC SURVEY ThL· survey is limited to articles written in English that have appeared in journals published between 1 January 1974 and 31 December 1976. Abbott, Don. "Marxist Influences on the Rhetorical Theory of Kenneth Burke." Philosophy and Rhetoric 7 (1974): 217-33. Abel, Lionel. "Jacques Derrida: His 'Difference' With Metaphysics." Salmagundi no. 25 (1974): 3-21. Adamowski, T. H. "Character and Consciousness: D. (...) H. Lawrence, Wilhelm Reich, and Jean-Paul Sartre." University of Toronto Quarterly 43 (1974): 31 1-34. Adams, D. J. "Style and Social Ideas in Jacques le fataliste." Studies in Voltaire & the Eighteenth Century 124 (1974): 231-48. Adams, Hazard. "Contemporary Ideas of Literature: Terrible Beauty or Rough Beast?" Contemporary Literature 17 (1976): 349-77. Adorno, Theodor W. "Lyric Poetry and Society." Telos no. 20 (1974): 56-71. Ages, Arnold. "Bonald and the Jews." Revue de l'Université d'Ottawa 44 (1974): 32-43. Allen, Diogenes. "The Experience of Existence: Jean-Paul Sartre and Iris Murdoch." International Philosophical Quarterly 14 (1974): 181-87. Allen, Marcus. "Character Development in the Oreste of Voltaire and Les Mouches of Jean-Paul Sartre." CLA Journal 18 (1974): 1-21. Alter, Jean. "A (Terrorist) System of the Novel." Diacritics 6 (1976): 10-15. Altieri, Charles. "Wittgenstein on Consciousness and Language: A Challenge to Derridean Literary Theory." MLN 91 (1976): 1397-1423. Altieri,Charles. "Wordsworth's 'Preface' as Literary Theory." Criticism 18 (1976): 122-146. [On Wordworth and Wittgenstein.] Ames, Van Meter. "Art for Art's Sake Again?" Journal of Aesthetics and Art Criticism 33 (1975): 303-307. Appleman, Philip. "The Dread Factor: Eliot, Tennyson, and the Shaping of Science." Columbia Forum, N. S. 3 (1974): 32-38. Armstrong, Paul B. " E. M. Forster's Howard's End: The Existential Crisis of the Liberal Imagination." Mosaic 8 (1974): 183-99. Arnold, A. James. "La Condition humaine as Nietzschean Tragedy." Mélanges Malraux Miscellany 6 (1974): 15-24. 366 François H. Lapointe367 Aronson, Ronald. "L'Idiot de la famille: The Ultimate Sartre?" Telos no. 20 (1974): 90-107. Arthos, John. "Du Bartas, Petrarch and the Poetry of Deism." Rice University Studies 60 (1974): 1-17. Artz, Johannes. "Newman as Philosopher." International Philosophical Quarterly 16 (1976): 263-88. Ausmus, Harry J. "Schopenhauer's Philosophy of Language." The Midwest Quarterly 18 (1977): 169-86. Ayala, Francisco. "Ortega y Gasset, Literary Critic." Critical Inquiry 1 (1974): 395-414. Bakalar, H. Nicholas. "The Cartesian Legacy to the Eighteenth-century Grammarians." MLN 91 (1976): 698-721. Barnes, Hazel. "Apotheosis and Deification in Plato, Nietzsche and Huxley." Philosophy and Literature 1 (1976): 3-24. Baron, Dennis E. "Role Structure and the Language of Literature." Journal of Literary Semantics 4 (1975): 43-52. Barooskian, Vahan D. "The Aesthetics of the Russian Revolutionary Theatre 1917-1921." British Journal of Aesthetics 15 (1975): 99-117. Bart, B. F. "Hypercreativity in Stendhal and Balzac." Nineteenth Century French Studies 3 (1974-75): 18-39. Barthes, Roland. "An Introduction to the Structural Analysis of Narrative." New Literary History 6 (1975): 237-72. Bashford, Bruce. "The Rhetorical Method in Literary Criticism." Philosophy and Rhetoric 9 (1976): 133-46. Bass, Alan. "Time and the Witch: Femininity, Metapsychology and the Temporality of the Unconscious." MLN 91 (1976): 871-912. Bassett, Sharon. "Towards a Critique of Romanticism: Wordsworth, Pater and the 'Anima Mundi'." Criticism 17 (1975): 262-75. Batchelor, R. "Literature, Society and the Concept of Revolt." European Studies Review 5 (1975): 395-427. Battin, M. Pabst. "Aristotle's Definition of Tragedy in the Poetics, Part 1." Journal of Aesthetics and Art Criticism 33 (1974): 155-70, and Part II in Ibid. 33 (1975): 293-302. Bauer, George. "Sartre and the 'Sugars' of History." L'Esprit Créateur 15 (1975): 377-86. Baumgarten, Murray. "The Historical Novel: Some Postulates." Clio 4 (1975): 173-82. Beauchamp, Gorman. "Gulliver's Return to the Cave: Plato's Republic and Book IV of Gulliver's Travels." The Michigan Academician 7 (1974): 201-10. Bennett, Jonathan. "The Conscience of Huckleberry Finn." Philosophy 48 (1974): 123-34. Benzon, William. "Cognitive Networks and Literary Semantics." MLN 91 (1976): 952-82. Bergonzi, Bernard. "A Grid of Codes: Views of Structuralism." Encounter 45 (1975): 52-58. Berry, Wanda Warren. "The... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Transvestite Achilles: Gender and Genre in Statius' AchilleidNeil W. BernsteinP. J. Heslin. The Transvestite Achilles: Gender and Genre in Statius' Achilleid. Cambridge: Cambridge University Press, 2005. xx + 349 pp. Cloth, $80.You do a girl tolerable poor, but you might fool men, maybe. Bless you, child, when you set out to thread a needle, don't hold the thread still and fetch the needle up to it; hold (...) the needle still and poke the thread at it—that's the way a woman most always does; but a man always does t'other way.... Why, I spotted you for a boy when you was threading the needle; and I contrived the other things just to make certain.(Mark Twain, Huckleberry Finn, chap. 11)In the wake of important briefer studies by Barchiesi, Feeney, and Hinds, and new editions by Rosati and Shackleton Bailey, Heslin has now produced the first full-length monograph in English on Statius' Achilleid. Although he surveys the entire poem, Heslin devotes particular attention to the episode of Achilles' transvestism at the court of Lycomedes on Scyros. By turns as witty, sophisticated, and learned as its object of examination, this book focuses on the themes of "the relationship of the Achilleid to the epic tradition and to the mythical biography of Achilles, Statius' manner of characterization, and the way he explores the nature of sex and gender" (xviii).Chapter 1, "Opening Nights at the Opera 1641–1744," demonstrates the Scyros narrative's appeal to a performance genre that commonly features transvestite masquerade. Assuming that his readers have little familiarity with the history of opera, Heslin surveys nine operas over a century and provides an "Epilogue" that brings his discussion into the twentieth century. The extended discussions of operas such as Gay's Achilles and Metastasio's Achille in Sciro (and the latter's numerous revivals) skillfully relate the libretti and staging to contemporary political, social, and literary debates. This chapter succeeds admirably in bringing out many of the major issues to which subsequent chapters return, such as the opposition of biologically essentializing and socially constructed models of gender and the conflict between heroic and burlesque approaches to mythological narrative.Chapter 2, "The Design of the Achilleid," takes up more traditional questions of form and genre. Though clearly an incomplete narrative, the Achilleid was carefully revised, and the text features a coherent design. Heslin suggests that Statius produced a prospectus designed to attract further patronage and thus intentionally left the reader unable to determine the future course of the epic either from the proem or extant narrative. Viewing the Achilleid as a prospectus permits Heslin to account for the proem's lack of specificity (in contrast, for example, to the "table of contents" found in the Thebaid's proem). The latter part of the chapter offers a close analysis of the proem and an assessment of Statius' engagement with the literary tradition. The Achilleid's proem bluffs the reader by advertising a linear, non-Aristotelian narrative, where in fact the epic begins in medias res and proceeds selectively. In contrast to the mad, vatic poet of the Thebaid, this narrator asserts his control over the narrative. Through passages such as Achilles' song in Chiron's cave, the epic enters "an ongoing discussion [End Page 142] regarding the proper version of a myth" (91) in the manner of learned Hellenistic poetry. The chapter concludes with a discussion of Statius' corrections of Vergil, such as his introduction of Deidamia (Achilleid 1.290–300) that responds to contemporary criticisms leveled at Vergil's Dido/Diana simile.Chapter 3, "Womanhood, Rhetoric, and Performance," offers a reading of the performances of gender by Thetis, Deidamia, and Achilles. Thetis' incompetent use of rhetoric makes her "the Mrs. Malaprop of Latin epic" (137). In her entreaty of Neptune, she fails to recapitulate the success enjoyed by literary models such her Homeric counterpart and the Vergilian Juno and Venus, in part because of her misuse of mythological exempla. She continues to misuse exempla in her persuasion of Achilles, undermining her case by associating his transvestism with the transsexuality of Caenis/Caeneus. Heslin further claims that Thetis engages in "discursive 'transvestism'" (133... (shrink)

Our response to representational art can be called "aesthetic" even if we are not "detached from cognitive and moral matters." for the pleasure we receive from "huckleberry finn" (dickie's example) is not based on its historical or sociological accuracy, Or on our agreement with its moral statements. We enjoy and value the novel because of its wit and irony, Which subvert and so transcend its cognitive and moral truths.

Introduction -- Value theory : the nature of the good life -- Epicurus letter to Menoeceus -- John Stuart Mill, Hedonism -- Aldous Huxley, Brave new world -- Robert Nozick, The experience machine -- Richard Taylor, The meaning of life -- Jean Kazez, Necessities -- Normative ethics : theories of right conduct -- J.J.C. Smart, Eextreme and restricted utilitarianism -- Immanuel Kant the good will & the categorical imperative -- Thomas Hobbes, Leviathan -- Philippa Foot, Natural goodness -- Aristotle, Nicomachean (...) ethics -- W.D. Ross, What makes right acts right? -- Hilde Lindemann, What is feminist ethics? -- Metaethics : the status of morality -- David Hume, Moral distinctions not derived from reason -- J.L. Mackie, The subjectivity of values -- Gilbert Harman, Ethics and observation -- Mary Midgley, Trying out one's new sword -- Michael Smith, Rrealism -- Renford Bambrough, Pproof -- Moral problems -- Peter Singe, The Singer solution to world poverty -- Heidi Malm, Paid surrogacy: arguments and responses -- Ronald Dworkin, Playing God : genes, clones, and luck -- James Rachels, The morality of euthanasia -- John Harris, The survival lottery -- Peter Singer, Unsanctifying human life -- William F. Baxter, People or penguins : the case for optimal pollution -- Judith Jarvis, Tthomson a defense of abortion -- Don Marquis, Why abortion is immoral -- Jonathan Bennett, The conscience of Huckleberry Finn -- Michael Walzer, Terrorism : a critique of excuses -- David Luban, Liberalism, torture, and the ticking bomb -- Martin Luther King, Jr., Letter from Birmingham City Jail -- Igor Primoratz, Justifying legal punishment -- Stephen Nathanson, An eye for an eye -- Michael Huemer, America's unjust drug war -- John Corvino, Why shouldn't Tommy and Jimmy have sex? : a defense of homosexuality -- Bonnie Steinbock, Adultery -- Hugh Lafollette, Licensing parents -- Jane English, What do grown children owe their parents? (shrink)

Nomy Arpaly rejects the model of rationality used by most ethicists and action theorists. Both observation and psychology indicate that people act rationally without deliberation, and act irrationally with deliberation. By questioning the notion that our own minds are comprehensible to us--and therefore questioning much of the current work of action theorists and ethicists--Arpaly attempts to develop a more realistic conception of moral agency.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Last Puritan: A Memoir in the Form of a NovelChristopher PerriconeThe Last Puritan: A Memoir in the Form of a Novel, by George Santayana; edited by H. J. Saatkamp and W. G. Holzberger; xli & 744 pp. Cambridge: MIT Press, 1994, $50.00.In 1936, Irwin Edman reviewed The Last Puritan for the New York Times. It was a sympathetic review. However, Edman was not blind to the novel’s (...) fundamental weakness: it is driven by ideas, “essences,” rather than characters, ones you might hate or love: “... this is a poet’s novel and philosopher’s tale.... If the characters do not come to life, they live as themes dramatized and as ‘human persuasions.’”This year Harold Bloom wrote in The Western Canon that canonical works are those works which deserve re-reading. As a novel, The Last Puritan does not deserve re-reading, as Tom Jones, The Trial, or Huckleberry Finn, do. But as a philosophy “not argued but presented as a picture” (Edman), The Last Puritan may be among Santayana’s best works. Yes, one reads and re-reads The Last Puritan because one wants to know the ideas of America’s great philosophical poet. Without the philosophy to support the novel, I am not sure it would have a reason for being. One is not interested per se in Santayana’s plot or characters, their friendships and failures, Oliver and Jim, their deaths, or Mario, his paganism and love of life. Rather one wants to be enchanted by [End Page 186] Santayana’s poetic voice; one wants to know what Santayana thinks about the play of spirit and matter and how “the genteel tradition” had so much promise and yet had gone bad. And these are, indeed, in principle, the very same reasons why one reads and rereads Plato, Lucretius, or Dante.The critical edition, put together by Saatkamp and Holzberger, with an introduction by Irving Singer, is a first-class piece of work. It is everything a Santayana scholar would want or need. Singer’s introduction provides the reader with a sound and well-researched background on Santayana and Oliver’s story, and anticipates some problems of aesthetics the reader will face, e.g., the problem of character development. Unlike me, Singer thinks Santayana’s “idealizations” bring vitality to character: “Far from being desiccated types, the great characters in fiction give one a sense of individuality that often seems more natural to us than what is found in nature itself” (p. xix). Notwithstanding my disagreement with Singer, his presentation is well thought-out and plausible.The “Editorial Appendix,” written by Saatkamp and Holzberger, is impeccable. In the “Notes to the Text” they provide the scholar or the curious reader with a marvelous wealth of information. They run down and support with convincing evidence every allusion in the novel. In the “Textual Commentary,” they provide a statement of textual principles and procedures, a description and development of the text, and an explanation of how the critical text was established; in effect, after one has read the product, one can then read about the process by which the product was brought about. Naturally, there are also lists of emendations and variants.As a philosophical novel, I recommend The Last Puritan to anyone who believes that “... what the realm of essence, in its mute eternity, chiefly adds to our notion of nature is the proof that nature is contingent. An infinite canvas is spread before us on which any world might have been painted. The actuality of things is sharpened and the possibilities of things are enlarged. We cease to be surprised or distressed at finding existence unstable and transitory. Why should it have been otherwise? Not only must our own lives be insecure, as earthly seasons change, but perhaps all existence is in flux, even down to its first principles. Dum vivimus, vivamus. Everything, so long as it recognizably endures, is free to deploy its accidental nature, and we may lead the life of reason with a good grace, harmonizing as well as possible our various impulses and opportunities, and exploring the realm of essence as our genius may prompt” (Santayana, “A General Confession... (shrink)

This paper is a short book review of Nomy Arpaly's brilliant book Unprincipled Virtue.

An act that accords with duty has moral worth if and only if the agent’s reason for performing it is the same as what would have motivated a perfectly virtuous agent to perform it. On one of the two leading accounts of moral worth, an act that accords with duty has moral worth if and only if the agent’s reason for performing it is the fact that it’s obligatory. On the other, an act that accords with duty has moral worth (...) if and only if the agent’s reason for performing it is the fact that it has that feature of obligatory acts that makes them obligatory. I argue that both views are incorrect, providing counterexamples to each. I then argue that, on the correct account, an act can have moral worth only if its agent is motivated out of a fundamental concern for the things that ultimately matter. (shrink)

This chapter contains sections titled: One spaceism versus two spaceism: setting the scene Two spaceism and ir‐content Which label: “epistemic” or “conceptual”? Which possibilities, precisely, are the ones two spaceism holds are conceptually possible but metaphysically impossible? How working with the bigger canvass raises some of the same questions over again Why two spaceism is not a happy home for anti‐reductionists Where to from here?