This essay argues for a new conception of bad faith based partly on Harry Frankfurt's famous account of personal autonomy in terms of higher‐order volitions and caring, and based partly on Sartre's insights concerning tacit or pre‐thetic attitudes and “transcendent” freedom. Although Sartre and Frankfurt have rarely been connected, Frankfurt's concepts of volitional “wantonness” and “bullshit” (wantonness about truth) are similar in certain revealing respects to Sartre's account of bad faith. However, Sartre leaves no room for Frankfurt's central point that (...) people can volitionally commit themselves to develop certain motives and reduce others, thereby shaping an authentic identity through volitional “identification” and “alienation” of motives. Frankfurt in turn minimizes the role that a sense of liberty to form and alter higher‐order volitions plays in experiences of autonomy, which Sartre recognizes in the transcendence of the “for‐itself.” When these points are combined, we get a tri‐level theory of intrasubjective volitional stances that explains Sartre's cases better than his own theory can, and also clarifies how sincere or procedurally autonomous self‐relation is possible. (shrink)

A central feature of being a celebrity is experiencing a divide between one's public image and private life. By appealing to the phenomenology of Sartre and Merleau-Ponty, we analyze this experience as paradoxically involving both a disconnection and alienation from one's public persona and a sense of close connection with it. This ‘uncanny’ experience presents a psychological conflict for celebrities: they may have a public persona they feel alienated from and that is at the same time closely connected to them (...) and shapes many of their personal interactions. We offer three ways in which a celebrity might approach this conflict: (i) eradicating the divide between their public and private selves, (ii) splitting or separating their private and public selves, or (iii) embracing the arising tension. We argue that it is only this third approach that successfully mitigates the negative effects of the alienation felt by many celebrities. (shrink)

We argue that the value of authenticity does not explain the value of self-knowledge. There are a plurality of species of authenticity; in this paper we consider four species: avoiding pretense (section 2), Frankfurtian wholeheartedness (section 3), existential self-knowledge (section 4), and spontaneity (section 5). Our thesis is that, for each of these species, the value of (that species of) authenticity does not (partially) explain the value of self-knowledge. Moreover, when it comes to spontaneity, the value of (that species of) (...) authenticity conflicts with the value of self-knowledge. (shrink)

In Coogan's Bluff (1968) and the Dirty Harry films, Clint Eastwood's characters often invoke luck when they want unpredictable others to assume some responsibility to stop violence, thereby implicating moral luck in heroism. In the famous ‘Do I feel lucky’ scene from Dirty Harry (1971), Eastwood's character might not be bluffing, but he is giving luck a role in justice. In this case and others, his character's unconventional responsibility should prompt reconsideration of his character's virtue. Viewers must also decide where (...) the deceptive or rule-breaking policeman locates the responsibility for his actions. (shrink)