In recent years, the economics of emotions (EoE) field, which aims to create models of the human mind, has grown quickly. EoE models work well with simulation theory (ST), which is one of the main theories of mind. EoE models show how people's behavior and emotions change based on their knowledge and perception of others. It is hoped that by developing this model, it will be possible to quantitatively analyze not only the mental states of real others, but also the (...) subtleties of the minds of characters in novels in the future. Until now, the decision-making or the factual-reasoning mechanisms have been a black box in ST. This study analyzes how EoE models add to the understanding of ST. (shrink)

Current research on morality is divided into rationalist and intuitionist theories. This study shows that when individuals make rational choices, they are inevitably guided by the moral foundation of intuitionism. Especially to pursue self-interest, individuals must agree with others in society. They must keep their opinions constant to agree with others. To maintain a constant opinion, the individual assigns an opinion that can improve the utility of the other person and place both of them in the same situation. The actions (...) taken by an individual must be altruistic to enhance the utility of the other person . The individual’s opinion is subsequently guided by the golden rule of morality, “Treat others as you would like to be treated,” which facilitates moral foundations. (shrink)

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)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of embodiment. (...) Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

Can artificial entities be worthy of moral considerations? Can they be artificial moral agents (AMAs), capable of telling the difference between good and evil? In this essay, I explore both questions—i.e., whether and to what extent artificial entities can have a moral status (“the machine question”) and moral agency (“the AMA question”)—in light of Kazuo Ishiguro’s 2021 novel Klara and the Sun. I do so by juxtaposing two prominent approaches to machine morality that are central to the novel: the (...) (1) view “from within,” including the standard (or “metaphysical”) perspective on moral agency, and the (2) view “from outside,” which includes behaviorism, functionalism and the social-relational perspective. Importantly, while the story illustrates both views, it exposes the epistemological vulnerability of the first in relation to the practical and social reality imposed by the second. That is, regardless of what metaphysical properties the Artificial Friend Klara can be said to have (from within), her moral status as well as agency ultimately depend on the views of others (from outside), including the others’ own epistemic beliefs about the nature of consciousness and personhood. (shrink)