What are the differences between hypocrisy, change of mind, and weakness of will? Each typically involves a gap between word and deed, yet they do not seem morally equivalent. Moreover, they are intuitively different concepts, even though the conceptual boundaries between them are fuzzy. This paper explores diverse examples, attempting to identify elements which may be distinctive of each concept, with special attention to hypocrisy. It also provides a discussion of the appropriateness of such use of examples in moral philosophy.

Resolving to finish reading a novel, staying true to your punk style, or dedicating your life to an artistic project: these are examples of aesthetic commitments. I develop an account of the nature of such commitments, and I argue that they are significant insofar as they help us manage the temporally extended nature of our aesthetic agency and our relationships with aesthetic objects. At the same time, focusing on aesthetic commitments can give us a better grasp on the nature of (...) aesthetic normativity; this is because, in making aesthetic commitments, we are capable of giving aesthetic concerns the weight of obligation. I argue that appealing to aesthetic commitments allows us to account for the existence of aesthetic obligations as well as their grounding. I conclude by arguing that, although the aesthetic domain is a domain of play and freedom of choice, there is nevertheless an important place in it for both aesthetic commitments and the aesthetic obligations they generate. (shrink)

Vor etwa einem Jahrhundert entwickelte sich im deutschsprachigen Raum imRahmen einer allgemeinen Charakterisierung unserer ästhetischen Erfahrungvon Kunst eine umfassende Debatte über die Natur und die Möglichkeit vonGefühlen über fiktionale Charaktere und Situationen. Die damalige Debatteweist große Ähnlichkeit zur heutigen analytischen Debatte über das Paradoxonder Fiktion auf. Trotz des unterschiedlichen jeweiligen historischen Kontextesfindet sich in der analytischen Debatte und in der Philosophie zu Beginn des20. Jahrhunderts fast der gleiche Lösungsansatz. Gefühle über Fiktionen seienQuasi-Gefühle, d.h. ein gefühlsartiges Phänomen mit einer Realität sui (...) generis ,dem im Unterschied zu den wirklichen Gefühlen kein Urteil über die Existenzdes Objektes zugrunde liegt und dem die Verbindung zur Motivation fehlt. Zieldieses Aufsatzes ist es, eine Untersuchung der These der Quasi-Gefühle An-fang des 20. Jahrhunderts zu unternehmen sowie die Analogien zur heutigenDebatte zu zeigen. Der Aufsatz baut sich um drei thematische Achsen herumauf. Zunächst wird eine historische Darstellung der These der Gefühle über Fiktionen bei Groos, Lipps, Lange, Geiger und Külpe unternommen. Diese bil-det den Rahmen für die Debatte über die Quasi-Gefühle in der Grazer Schule.Anschließend wird die Aufmerksamkeit auf die Diskussion über Quasi-Gefühle bei Meinong, Witasek, Saxinger und Schwarz gerichtet. Zuletzt wer-den die Berührungspunkte zur heutigen analytischen Debatte im Ausgang vonsystematischen Fragen aufgezeigt. (shrink)

This essay argues that scientific discourse is amenable to interpretation and assessment from the perspective of the narrative paradigm and its attendant logic, narrative rationality. It also contends that this logic entails a revised conception of knowledge, one that permits the possibility of wisdom. The text analyzed is James D. Watson and Francis H. Crick's proposal of the double helix model of DNA.

Critics have suggested that deliberative democracy reproduces inequalities of gender, race, and class by privileging calm rational discussion over passionate speech and action. Their solution is to supplement deliberation with such forms of emotional expression. Hall argues that deliberation already inherently involves passion, a point that is especially important to recognize in order to deconstruct the dichotomy between reason and passion that plays a central role in reinforcing inequalities of gender, race, and class in the first place.

I argue that considerations about computational complexity show that all finite agents need characteristics like those that have been called epistemic virtues. The necessity of these virtues follows in part from the nonexistence of shortcuts, or efficient ways of finding shortcuts, to cognitively expensive routines. It follows that agents must possess the capacities – metavirtues –of developing in advance the cognitive virtues they will need when time and memory are at a premium.

Issues of genre and persuasion are central to ethical thought and practice. Until recently, there has been an asymmetry between religious ethics and moral philosophy in regard to these issues. Renewed attention to these issues in moral philosophy creates a new context for their consideration in religious ethics--one in which the relation of religious ethics and moral philosophy is less determinate than it has been in previous discussions. The four essays that comprise this Focus Section reflect this new context while (...) also making new contributions to perennial concerns of genre in ethical thought and practice. (shrink)

Ethical choice and action in the built environment are complicated by the fact that moral agents often get stuck as they pursue their goals. A common way of getting stuck has its roots in human cognition: the failure of moral imagination, which shows most clearly when moral agents stand on either side of a sharp cultural divide, like the traditional divide between city and suburb. Being stuck is akin to bad moral luck: it is a situation beyond the control of (...) the moral agent for which that agent might nevertheless be held responsible. (shrink)

Moral perception, as the term is used in moral theory, is the perception of normatively contoured objects and states of affairs, where that perception enables us to engage in practical reason and judgment concerning these particulars. The idea that our capacity for moral perception is a crucial component of our capacity for moral reasoning and agency finds its most explicit origin in Aristotle, for whom virtue begins with the quality of perception. The focus on moral perception within moral theory has (...) made a comeback in the last few decades, especially in the hands of self-proclaimed neo-Aristotelians such as John McDowell, Martha Nussbaum, and Nancy Sherman. For these writers, our perceptual capacities are not static, and the laborious honing of our perceptual skills is a crucial moral task. On this picture, as Nancy Sherman puts it, “How to see becomes as much a matter of inquiry as what to do.”Moral particularists—including but not restricted to the neo-Aristotelians—have emphasized the centrality of moral perception to moral agency and judgment, as a corrective to moral theories that treat deliberation in terms of universal principles as the privileged keystone of moral agency. (shrink)

In this article, I argue that if we challenge some tacit assumptions of narrow rationality that endure in much of entrepreneurial studies, we can elevate entrepreneurial ethics beyond mere external constraints on rational action, and move toward fuller integration of ethics as an intrinsic part of the process of value creation itself. To this end, I propose the concept of practical wisdom as a framework for exploring entrepreneurial decision making and action that can broaden the scope of our research to (...) recognize entrepreneurship as an inherendy normative enterprise. Specifically, I suggest that a framework built upon a concept of practical wisdom enables us to adopt a richer and more complex view of entrepreneurial decision making that is well suited to the dynamic and uncertain context of entrepreneurship. Further, this framework enriches our view of entrepreneurial ethics to include consideration of the personal character, values, and purpose of the entrepreneur. By examining entrepreneurship through a lens of practical wisdom, we can open up new avenues of fruitful inquiry for scholars of entrepreneurship. (shrink)

There is no consensus about the ethical ideal of genetic counselling and decision making. This paper reviews and discusses some of the most prominent ethical arguments that have been brought forward against the non-directiveness principle (NDP), which has been the ethical gold standard for a long time. These arguments can be classed in four categories: (i) NDP can be against the best interests of the individuals concerned; (ii) NDP has ideological elements that do not adequately represent the counselling ethos; (iii) (...) NDP was historically a defensive tool that protected the interests of geneticists against social criticism and against litigation; (iv) NDP falsely assumes individual responsibility and hides the shared responsibility of other social actors. The paper argues that a serious understanding of moral space, which people need in order to make ‘their own’ decisions, leads to a necessarily relational concept of agency. The positive counterpart of NDP is to allow a space for agency. Allowing agency implies offering the kind of support that the decision-making person really needs. To make a good decision about personal genetics implies being empowered to act as a contextually sensitive person who is aware of relationships and corresponding responsibilities. (shrink)

Collingwood argues that art is a remedy for what he calls a “corrupt consciousness.” Consciousness becomes corrupted when agents do not admit that they are starting to experience an emotion. Instead of becoming conscious of the emerging emotion, which is usually a difficult one, agents become conscious of an emotion that is easier to handle. Collingwood sees the corruption of consciousness as epistemically and morally problematic mainly because it is a form of dishonesty that infects the activity of the imagination (...) and the intellect. While highlighting the importance of Collingwood’s notion of the corruption of consciousness, this paper argues that this notion would benefit from being situated in an explicitly top-down model of attention and emotion as opposed to the bottom-up model that Collingwood proposes. This shift preserves the central insights of Collingwood’s aesthetics – most especially his emphasis on the specificity involved in the expression of emotion – while ironing out some of the implausibility in his underlying analysis. (shrink)