Irving Singer has defended the thesis that the "fine gold thread" of love, its sine qua non, is the bestowal of value by the lover on the beloved, even in those cases where the love itself is grounded in a positive appraisal of the beloved's attributes. He suggests that bestowal is a matter of elevating the importance of the beloved and his or her needs and interests above their appraised merit. I argue that love's bestowal is principally effected through speech (...) acts of the kind that John Searle refers to as _Status Function Declarations_, the very same linguistic mechanism by which, according to him, all of social or institutional reality is created. On this picture, the roles of lover and beloved are shown to be status functions constituted by a deontology that delineates the partiality of the former towards the latter. (shrink)

Three claims about love and justice cannot be simultaneously true and therefore entail a paradox: (1) Love is a matter of justice. (2) There cannot be a duty to love. (3) All matters of justice are matters of duty. The first claim is more controversial. To defend it, I show why the extent to which we enjoy the good of love is relevant to distributive justice. To defend (2) I explain the empirical, conceptual and axiological arguments in its favour. Although (...) (3) is the most generally endorsed claim of the three, I conclude we should reject it in order to avoid the paradox. (shrink)

In this paper I address a Euthyphro problem associated with personal love. Do we love someone because we have reasons for loving that person or do we have reasons for loving that person because we love her? I argue that a relational view of identity will help us move some distance towards resolving this dilemma. But the relational view itself needs to be further supplemented by examining the role that imagination plays both in personal identity and in our experience of (...) love. (shrink)

Harry Frankfurt characterizes love as "a disinterested concern for the existence of what is loved, and for what is good for it." As such, he views romantic love as an inauthentic paradigm for love since such love desires reciprocation, sexual gratification and so on. I argue that Frankfurt's conception of love is too general—he does not distinguish between the type of love one has for one's partner, one's country, a moral ideal, etc., it overemphasizes the role of bestowal at the (...) expense of the part played by appraisal and it is insufficiently social. Certain forms of love, romantic love and friendship for instance, are defined largely in terms of reciprocation. For Frankfurt, reciprocation is somewhat of an accidental feature of love. This deficiency in Frankfurt's conception of love can be traced to a problem in his conception of selfhood which I argue is insufficiently social in nature. (shrink)

This essay focuses on personal love, or the love of particular persons as such. Part of the philosophical task in understanding personal love is to distinguish the various kinds of personal love. For example, the way in which I love my wife is seemingly very different from the way I love my mother, my child, and my friend. This task has typically proceeded hand-in-hand with philosophical analyses of these kinds of personal love, analyses that in part respond to various puzzles (...) about love. Can love be justified? If so, how? What is the value of personal love? What impact does love have on the autonomy of both the lover and the beloved? (shrink)

Many think that love would be a casualty of free will skepticism. I disagree. I argue that love would be largely unaffected if we came to deny free will, not simply because we cannot shake the attitude, but because love is not chosen, nor do we want it to be. Here, I am not alone; others have reached similar conclusions. But a few important distinctions have been overlooked. Even if hard incompatibilism is true, not all love is equal. Although we (...) have only minimal control over love, it can be more or less authentic. I develop my position by considering the fictional trope of love potions and the implications of a futuristic psychotropic, Lovezac—Viagra for the heart. But I am not as optimistic as some. Even though free will skepticism would not jeopardize love-the-feeling, there are reasons to think that loving relationships might not be immune. (shrink)

Although we can try to explain why we love, we can never justify our love. Love is neither based on reasons, nor responsive to reasons, nor can it be assessed for normative reasons. Love can be odd, unfortunate, fortuitous, or even sadly lacking, but it can never be appropriate or inappropriate. We may have reasons to act on our love, but we cannot justify our loving feelings. Shakespeare's Bottom is right: "Reason and love keep little company together now-a-days." Indeed, they (...) keep none and they never kept any: there are no justifying reasons for love. (shrink)

It seems better to love virtue than vice, pleasure than pain, good than evil. Perhaps it's also better to love virtuous people than vicious people. But at the same time, it's repugnant to suggest that a mother should love her smarter, more athletic, better looking son than his dim, clumsy, ordinary brother. My task is to help sort out the conflicting intuitions about what we should love. In particular, I want to address a problem for the no-reasons view, the theory (...) that love cannot be rationally justified. Since it seems better to love good people rather than evil villains, it appears that there are indeed reasons for (or, at least, against) love. Is it coherent to talk this way and deny that love can be justified? I think so and will explain how. (shrink)

Despite the notable lack of Chaplinesque romantic flourishes, Buster Keaton has a sophisticated approach to romantic love in his films. Love in Keaton’s films is a mutual recognition and admiration for the physical and mental competence necessary to deal with an absurd, cruel, or indifferent social and physical environment and an agreement to face the world together. There are two ways in which this claim might seem surprising to someone familiar with Keaton’s films. Keaton’s famously stoic persona seems to be (...) at odds with the very idea that there is an expression of romantic love in the films. How could someone so un-expressive express romantic love? There is simply not enough there to be interpreted. Additionally, the topic of love seems to be the wrong approach to take toward Keaton, the master of the gag. His films are original and interesting and funny because of their visual wit, not because of their thematic value. Watching his films for themes is to miss what is valuable about them. In answering these objections, I will set the stage for my argument that Keaton’s narratives assume the viewer recognizes the Buster character is in love while withholding many of the traditional emotional signifiers of that love. The narrative cannot proceed without this assumption and many of the gags don’t work without recognizing Buster’s motivation. Through careful attention to the resolution of the stories within the films, we can begin to recognize the surprising, sophisticated approach to romantic love that the films contain. (shrink)