Distance relativism (Williams, 1975, 1985) can be distinguished from other ethical relativisms in two ways. First, moral assessment is appropriate between contemporary societies and those of the recent past. Second, where moral assessment is not appropriate, the distance relativist practices quietism. Fricker (2010) critiques Bernard Williams’s (1975, 1985) distance relativism, claiming it fails to deliver the intended results regarding which societies we can appraise. Here, I address Fricker’s critique and present a novel interpretation of Williams’s idea of ‘outlooks,’ showing that (...) Fricker’s criticisms are not insurmountable. (shrink)

By integrating Bernard Williams’s internalism about reasons with his later thought, this article casts fresh light on internalism and reveals what wider concerns it speaks to. To be consistent with Williams’s later work, I argue, internalism must align with his deference to the phenomenology of moral deliberation and with his critique of ‘moral self-indulgence’. Key to this alignment is the idea that deliberation can express the agent’s motivations without referring to them; and that internalism is not a normative claim, but (...) an example of sense-making from ‘the ethnographic stance’. This leaves a worry over whether moral conviction can coexist with an internalist understanding of reasons. Here too, however, Williams’s later thought provides an answer. Differentiating corrosive from corroborative sense-making, it elucidates how internalism, though not normative, can nonetheless affect our confidence in reason statements, thereby informing how we deliberate and how we address those whose motivations differ from our own. (shrink)

The rejection of a “characterless” moral self is central to some of Bernard Williams’ most important contributions to philosophy. By the time of Truth and Truthfulness, he works instead with a model of the self constituted and stabilized out of more primitive materials through deliberation and in concert with others that takes inspiration from Diderot. Although this view of the self raises some difficult questions, it serves as a useful starting point for thinking about the process of developing an authentic (...) moral point of view in the context of contemporary living. In what follows, I begin to fill out and extend this picture of the self and its related notion of authenticity by exploring some of the “technologies of the self” at play in Rachel Cusk’s recent work (primarily, the Outline trilogy, Coventry, Second Place, and “The Stuntman”) that ask us to rethink the possibility and importance of stability; seek a way of constituting oneself and one’s values outside the confining structures of traditional narrative (focusing instead on a framework that might be provided by the visual arts); and give a different role to the sort of internalized other Williams sees as being at work in the mechanisms of shame. (shrink)

Philosophy strives to give us a firmer hold on our concepts. But what about their hold on us? Why place ourselves under the sway of a concept and grant it the authority to shape our thought and conduct? Another conceptualization would carry different implications. What makes one way of thinking better than another? This book develops a framework for concept appraisal. Its guiding idea is that to question the authority of concepts is to ask for reasons of a special kind: (...) reasons for concept use, which tell us which concepts to adopt, adhere to, or abandon, thereby shoring up—or undercutting—the reasons for action and belief that guide our deliberations. Traditionally, reasons for concept use have been sought either in timeless rational foundations or in concepts’ inherent virtues, such as precision and consistency. Against this, the book advances two main claims: that we find reasons for concept use in the conceptual needs we discover when we critically distance ourselves from a concept by viewing it from the autoethnographic stance; and that sometimes, concepts that conflict, or exhibit other vices such as vagueness or superficiality, are just what we need. By considering not what concepts are absolutely best, but what concepts we now need, we can reconcile ourselves to the contingency of our concepts, determine the proper place of efforts to tidy up thought, and adjudicate between competing conceptions of things—even things as contested as liberty or free will. A needs-based approach separates helpful clarification from hobbling tidy-mindedness, and authoritative definition from conceptual gerrymandering. (shrink)

In this paper, I identify a central problem for conceptual engineering: the problem of showing concept-users why they should recognise the authority of the concepts advocated by engineers. I argue that this authority problem cannot generally be solved by appealing to the increased precision, consistency, or other theoretical virtues of engineered concepts. Outside contexts in which we anyway already aim to realise theoretical virtues, solving the authority problem requires engineering to take a functional turn and attend to the functions of (...) concepts. But this then presents us with the problem of how to specify a concept’s function. I argue that extant solutions to this function specification problem are unsatisfactory for engineering purposes, because the functions they identify fail to reliably bestow authority on concepts, and hence fail to solve the authority problem. What is required is an authoritative notion of conceptual function: an account of the functions of concepts which simultaneously shows why concepts fulfilling such functions should be recognised as having authority. I offer an account that meets this combination of demands by specifying the functions of concepts in terms of how they tie in with our present concerns. (shrink)

Bernard Williams thought that philosophy should address real human concerns felt beyond academic philosophy. But what wider concerns are addressed by Ethics and the Limits of Philosophy, a book he introduces as being ‘principally about how things are in moral philosophy’? In this article, we argue that Williams responded to the concerns of his day indirectly, refraining from explicitly claiming wider cultural relevance, but hinting at it in the pair of epigraphs that opens the main text. This was Williams’s solution (...) to what he perceived as the stylistic problem of how to pursue philosophy as cultural critique. Taking the epigraphs as interpretative keys to the wider resonances of the book, we show how they reveal Williams’s philosophical concerns – with the primacy of character over method, the obligation to follow orders, and the possibility of combining truth, truthfulness, and a meaningful life in a disillusioned world – to be recognisably rooted in the cultural concerns of post-war Britain. In the light of its epigraphs, the book emerges as the critique of a philosophical tradition’s inadequacies to the special difficulties of its cultural moment. (shrink)

To what extent, and on what grounds, can we ethically evaluate art from a generative context that is at some significant distance from our present reception context—at enough distance, at least, so that the two contexts differ, in important ways, in aspects of their moral outlooks? This paper has four aims. The modest task of the paper is to show that this question is much more difficult than has been recognised. The somewhat more ambitious goal is a methodological intervention: it (...) is to highlight the need for interdisciplinary research that illuminates the socio-historical specificities of remote generative contexts in a way that allows us to see the relevant ways in which the moral outlooks overlap with ours (or do not). In relation, the third aim of the paper is to argue, with reference to Bernard Williams’s ‘relativism of distance’, that there are some cases in which the moral outlooks of a work’s generative and reception contexts differ so significantly that the warrant for our moral judgments of remote artworks is attenuated—if it exists at all. Finally, we try to demonstrate how the sort of interdisciplinary collaboration we’re advocating might inform our moral judgments of art—more specifically, in a way that invites a degree of quietude or uncertainty about remote artworks that are deeply morally troubling in our present reception context. We do this with reference to the paintings of Titian. (shrink)

Bernard Williams’ philosophy is shaped by a distinctive and abiding interest in the borderlands between Philosophy and History. He famously considers moral philosophy, and particularly moral theory, to over‐step the border that marks the real ‘limits’ of the discipline, and in his later work he explicitly advances the idea of doing ‘impure’ philosophy, by which he meant philosophy that mixed itself with history. By examining the complex impression left on Williams’ historical self‐consciousness by his engagements with two very different figures (...) in the history of philosophy, namely Descartes and Wittgenstein, I will explore a number of ways in which philosophy and history are closely intertwined for Williams. This will draw out the positive vision he modelled for us of ‘impure’ philosophy—a philosophical style he took to contribute to nurturing philosophy as a humanistic discipline. (shrink)