Drawing on contemporary agency theory and the phenomenological-existential tradition, this paper uses Mr. Stevens, the narrator-butler of Kazuo Ishiguro’s The Remains of the Day, to examine the interplay and potential tensions between different aspects (and thus different standards) of human agency. Highlighting the problem of mission creep described by John Martin Fischer, in which a notion expands beyond the original purpose, I use Stevens’s thoughts on dignity to outline three different ways actions can (or can fail to) trace back to (...) agents—autonomy as self-control, authenticity as sincerity, and authenticity as ownership. I then propose that the way Stevens embraces and acts consistently within his subservient professional role (autonomy as self-control) weakens his ability to take responsibility for his life in the sense required by authenticity as ownership. Because the self-responsibility of authenticity requires normative flexibility (the ability to revise and reshape one’s commitments and values), when normatively inflexible agents act in self-controlled ways according to their roles or welfare standards, they may limit their ability to take responsibility for their lives. In addition to illuminating debates about whether robust human agency is compatible with subservience, the normative flexibility involved in authenticity has implications for human agency more broadly. (shrink)

Because anticipated and retrospective regret play important roles in practical deliberation and motivation, better understanding them can illuminate the contours of human agency. However, the possibility of self-ignorance and the fact that we change over time can make regret—especially anticipatory regret—not only a poor predictor of where the agent will be in the future but also an unreliable indicator of where the agent stands. Granting these, this paper examines the way in which prospective and, particularly, retrospective regret can nevertheless yield (...) important insight into the sorts of creatures we are, both generally and individually. The experience of retrospective regret can show a person she values something in a way she did not know or that she is (or was) a different person than she had thought, insights which can factor into forward-looking, or prospective, deliberation. Such instances of revelatory regret reveal something to the agent about herself as agent. I examine two cases of agential self-ignorance. In the first, the experience of regret reveals what the agent values, not only to others but even to the agent himself. In the second, the agent anticipates experiencing regret for an action but does not experience the regret, suggesting that the agent did not value the rejected alternative in the way she thought. Anticipatory regret is forward-looking and can play an important role in practical deliberation. But insofar as anticipatory regret flows from one’s imperfect judgment and prospection about oneself, retrospective regret can be an important corrective in helping the agent understand her own standpoint. (shrink)

Disavowals such as "That's not who I am" are one way to distance ourselves from unsavory actions in order to try to mitigate our responsibility for them. Although such disclaimers can be what Harry Frankfurt calls "shabbily insincere devices for obtaining unmerited indulgence," they can also be a way to renew our commitments to new values as part of the processes of aspiration and moral improvement. What, then, separates backsliding aspirants from those in denial who seek unmerited indulgence? Drawing on (...) Christine Korsgaard, on the one hand, and Heidegger and Merleau-Ponty, on the other, I propose a two-dimensional account of practical identity that makes sense of a certain kind of self-ignorance and helps us distinguish the aspirant from the superficially similar cases of denial and resignation. A key factor is how one responds to what I call residual practical identities. (shrink)

Hubert Dreyfus’s work in the phenomenology of agency is distinctive for the privileged and central position he gives to our ability to navigate the everyday world. Drawing on the existential-phenomenological tradition—particularly the work of Heidegger and Merleau-Ponty—Dreyfus characterizes skillful embodied engagement with the world (skillful coping) as the paradigmatic instance of human intelligence and agency. He uses the notion of skillful coping to push against the emphasis on deliberation he finds in the traditional view of human agency. One of Dreyfus’s (...) central claims is that the complex understanding involved in skillful coping need not be highly reflective. -/- Dreyfus connects the ability to respond to the particular significances of a concrete situation with typically existential concerns, such as authenticity. The way Dreyfus connects skillful coping with authenticity exemplifies his syncretic approach in which he synthesizes and, arguably, extends the work of thinkers such as Heidegger and Merleau-Ponty. -/- The concluding section examines one worry about Dreyfus’s characterization of expertise within the skillful coping paradigm. Specifically, does Dreyfus’s rejection of the tradition’s emphasis on deliberation lead him to excessively minimize the role of deliberation as one develops and expands expertise? My suggestion is that there is space for such deliberate learning and skill development for experts within the framework Dreyfus proposes. To flesh out the place of deliberate learning, I draw on both Dreyfus and Merleau-Ponty to suggest how intentionally (and deliberately) trying to live in a certain way is not at odds with but is ultimately crucial for the expertise of absorbed, fluid, and skillful coping in a practical world. (shrink)

In Aspiration, Agnes Callard examines the phenomenon of aspiration, the process by which one acquires values and becomes a certain kind of person. Aspiring to become a certain type of person involves more than wanting to act in certain ways. We want to come to see the world in a certain way and to develop the dispositions, attributes, and skills that allow us to seamlessly and effectively respond to situations. The skilled athlete or musician, for example, has developed the muscle (...) memory and the perceptual equivalent to naturally see what a situation requires and to respond well, whether playing a Rachmaninoff concerto or returning a tennis volley. -/- I use Merleau-Ponty’s Phenomenology of Perception to flesh out the process of becoming, through which aspired-to values, skills, and characteristics become part of one’s embodied being-in-the-world. Although some rightly focus on Merleau-Ponty’s efforts to avoid over-intellectualizing skillful action, without appreciating his distinction between habitual actions and human (or personal) acts, we overlook an important aspect of robust human agency—the way “a human act becomes dormant and is continued absent-mindedly as a reflex” (90). Merleau-Ponty’s account of habit and its relation to personal acts offers a rich and phenomenologically sensitive picture of aspiration. (shrink)

Zuko’s plight illuminates the process of aspiration, including common challenges to the aspirant. As Agnes Callard understands it, aspiration typically involves a “deep change in how one sees and feels and thinks.” And this deep change is often intertwined with a change in what contemporary philosopher Christine Korsgaard calls practical identity, a “description under which you value yourself, . . . under which you find your life to be worth living and your actions to be worth undertaking.” But as Zuko (...) shows, practical identities are complex, sometimes unwieldy, and changes in explicit self-conceptions can take work, time, and perhaps some luck to bring about the deep change one aspires to. Even after he explicitly disavows his past actions, Zuko finds himself reverting to past behaviors, doing things that (on some level) he wishes he would not. These actions frustrate him— “Why am I so bad at being good?”— but they are not mere lapses in judgment. They come naturally and express an identity that Zuko had long embraced and cultivated but is now trying to leave behind. The arc of Zuko’s transformation illustrates the interplay between two dimensions of practical identity. On the one hand, as Korsgaard’s account emphasizes, our explicit self-conceptions and values matter. They guide our actions and shape how we see the world. But Zuko’s struggles suggest that such self-conceptions and aspirations are only part of the story. According to Martin Heidegger’s notion of being-in-the-world, our practical identity depends more on our existential engagement with the world than on our explicit self-conceptions. And these different dimensions of practical identity do not always align. As William Blattner writes, “Some of the most challenging conflicts in our lives arise when who we are existentially engaged in being stands in tension with who we think of ourselves as being.” Zuko is frustrated because, despite consciously trying to change, his being-in-the-world conflicts with his Korsgaardian practical identity. His world is still shaped (residually) by an identity he wants to shed. The way Zuko’s world and actions continue to be shaped by an identity he is trying to leave behind highlights a key difficulty of transformation. Zuko’s desire to prove his worth to his father and his rage have so thoroughly permeated his being-in-the-world that they are second nature. They shape his orientation toward the world and fuel his firebending. For better and worse, his spontaneous actions do not always fall in step with his conscious commitments. The same skills and dispositions Zuko previously cultivated as central to his identity now lead to unwanted actions and keep him from aspired-to actions. To become good in the way he wants, Zuko must not only cultivate the dispositions that will allow his aspired-to identity to become part and parcel of his being-in-the-world, but he must clear out or modify the residual influence of his past identity and related dispositions and values. -/- . (shrink)

In The Sickness unto Death, Kierkegaard describes selfhood as an achievement, specifically claiming that the self’s task ‘is to become itself’ (SUD, 29/SKS 11, 143). But how can one can become who or what one already is, and what sort of achievement is it? This chapter draws on the work of Christine Korsgaard, another philosopher who sees selfhood as an achievement, using her notion of practical identity to explore Kierkegaard’s accounts of the structure of the self and of selfhood as (...) achievement. Kierkegaard’s treatment of selfhood—as aspirational and, if undertaken well, appropriately grounded in one’s facticity (i.e. the concrete facts of one’s situation)—suggests how consciously endorsed identities can guide (or fail to guide) our agency. Having a practical identity involves striving to inhabit adopted roles by aligning our actions with relevant normative demands, but also sometimes embracing and consciously adopting identities already tacitly guiding our engagement with the world. This framework also suggests several ways we can be alienated from desires, actions, or, more generally, our selves. Putting Kierkegaard in conversation with contemporary agency theory, this chapter has two guiding lines of inquiry. First, what does it mean to achieve selfhood and how can the notion of practical identity illuminate or be illuminated by this question? Second, how can this analysis clarify the experience of not being oneself, whether resulting from self-deception, self-ignorance, or the potentially frustrating gap between who one is and who one wants to be? (shrink)

Influential interpretations of Heidegger’s Origin of the Work of Art focus on the view that great art is massive and communal—typically structures like temples and cathedrals. This approach, however, faces two interpretive problems. First, what are we to do with artworks in the essay that clearly are not monumental or communal, such as van Gogh’s Shoes? Second, how should we understand our experience of works such as the Greek temple, which once were but are no longer central in this way? (...) Heidegger himself says that great art of the past becomes either a relic of the past or a mere object of aesthetic experience, but his description of his own experience with a Greek temple seems to contradict this. To understand Heidegger’s views on art—including his explicit claims about the limited vitality of great art of the past and his unintentional case for the continued power of great art of the past—it is crucial to distinguish, first, between Heidegger’s notions of world and worldhood, and, second, between two senses of what makes art great—world disclosure and world gathering. Doing so allows us to make better sense both of the essay as a whole and the potential continued vitality of great art of the past. (shrink)