An inverse akratic act is one who believes X, all things considered, is the correct act, and yet performs ~X, where ~X is the correct act. A famous example of such a person is Huck Finn. He believes that he is wrong in helping Jim, and yet continues to do so. In this paper I investigate Huck’s nature to see why he performs such acts contrary to his beliefs. In doing so, I explore the nature of empathy and show how (...) powerful Huck’s empathic feelings are. Drawing from Martin L. Hoffman, I show the relationship between empathy and a principle of justice. This relationship leads to Huck acting virtuously, as Rosalind Hursthouse maintains. (shrink)

This article will offer an alternative understanding of managerial decision-making drawing from Sartre’s Critique of Dialectical Reason rather than simply Being and Nothingness. I will begin with a brief explanation of Sartre’s account of freedom in Being and Nothingness. I will then show in the second section how Andrew West uses Sartre’s conception of radical freedom from Being and Nothingness for a managerial decision-making model. In the third section, I will explore a more robust account of freedom from Sartre’s Critique (...) of Dialectical Reason. I will attempt to show that freedom is not simply a matter of choosing (or not choosing) to perform an action, but entails external constraints—including other people. Finally, I will provide the implications of this account of freedom for managerial decision-making. I will show that it’s unreasonable to place full responsibility and/or blame on managers given their constraints. This does not absolve them from responsibility, but better accounts for the way in which we ought to hold them responsible. (shrink)

In the article I discuss the philosophical premises of Kleist's literary work, focussing on the relationship between his conception of moral conscience and Kant's ethics.

Le verdict du tribunal de la raison, institué par la critique kantienne, commande la fin de la métaphysique qui se muerait en croyance rationnelle, absolument nécessaire dans le cadre de la raison pratique et de ses exigences d’intelligibilité. Cependant, l’assimilation existentielle de l’impossibilité de la métaphysique par Kleist déclenche non seulement le sentiment de finitude et d’humilité de la raison, mais aussi le refus tragique, désespéré, d’une science strictement phénoménale et d’une solution croyante pour apaiser son besoin de vérité (...) absolue. Ainsi, une catastrophe, comme le tremblement de terre de Lisbonne ou du Chili, convoque des significations contrastées : Kant s’attache à la mécanique naturelle et à la possibilité d’un dessein inscrutable, tandis que Kleist éprouve la vie sous le signe du hasard, « voyage sans but », dont le mouvement offre le dynamisme diasporique du salut impossible. (shrink)

Cases of akratic behavior are generally seen as paradigmatic depictions of the knowledge-action gap (Darnell et al 2019): we know what we should do, we judge that we should do it, yet we often fail to act according to our knowledge. In recent decades attention has been given to a particular instance of akratic behavior, which is that of “inverse akrasia”, where the agent possesses faulty moral knowledge but fails to act accordingly, thus ending up doing the right thing. In (...) particular, two literary examples are considered as exemplifying this kind of akratic situation: Huckleberry Finn (Arpaly & Schroeder 1999, Arpaly 2000, Hursthouse 1999, Kleist 2009, Holton manuscript) and Neoptolemus as understood by Aristotle (NE; Arpaly & Schroeder 1999). In this paper I will argue that those of Neoptolemus and Huck Finn are not cases of inverse akrasia (Holton manuscript) but are much better explained as instances of what Williams (1993) called “moral incapacity”. In particular, the reason why they fail to act according to their original judgments is due to a lack of motivation to act accordingly, which is grounded in their moral self-identities (Blasi 1984; Vigani 2016). The paper will unfold as follows: I will, first, argue that neither Neoptolemus nor Huck Finn show akratic behavior; thus, they cannot be legitimately labeled as “inverse akratics” (par 1.); then, I will argue that they act the way they do notwithstanding their faulty judgments because they are effectively motivated to do so. Such motivation originates in their moral self-identities and is experienced through the threat of self-betrayal (par 2); finally, I will argue that when an agent is motivated to act in a way that is integral with her moral self-identity, acting otherwise is experienced as something one cannot ultimately do; that is, as a moral incapacity (par 3). This “cannot” is neither a metaphor for an “I shouldn’t”, nor an instance of what has been recently labeled a “moral impossibility” (Caprioglio Panizza 2020, 2021), since it does not arise from the normative force of deontic judgments, and it is neither physically nor psychologically impossible for the agent to act otherwise. (shrink)

This paper explores the elusive dialectic between concentration and forgetfulness, consciousness and unconsciousness in spontaneous artistic creation favoured by artists and advocated by critics in Chinese art history, by examining texts on painting and tracing back to ancient Daoist philosophical ideas, in a comparison with Kantian and post-Kantian aesthetics. Although artistic spontaneity in classical Chinese aesthetics seems to share similarities with Kant’s account of spontaneity in the art of genius, the emphasis on unconsciousness is valued by classical Chinese artists and (...) critics inspired by the Daoist idea of ‘Wu Wei’ (acting without conscious intention or effort). As the Qing painter Wang Yuanqi (1642–1715) claimed when admitting his failure to copy the Yuan master Ni Zan (1301–1374), Ni Zan’s success in natural and untrammelled expression lies ‘in between having an intention and not having one’. A similar idea about the dialectic of consciousness and unconsciousness in artistic spontaneity was suggested by Heinrich von Kleist’s On the Marionette Theatre (1880), which demonstrated that while self-consciousness might disturb and hinder the naturalness of artistic expression and thus encourage affectation, it does not mean that there is no role for consciousness. Although the views on unconsciousness in art and the co-play of consciousness and unconscious in artistic creation by Schelling, Schiller, Goethe, and even Nietzsche might get inspirations from Kant’s hidden view of the unconscious, Kant’s emphasis on the harmonious cooperation between imagination and understanding disguises his inexplicit idea of the unconscious. This paper will demonstrate that while in both Classical Chinese and European cultural contexts, artists, critics and philosophers talk about the same elusive relation, the philosophical explanations of the same phenomenon are essentially distinctive. (shrink)

It examines the context of the referendum in Greece in the summer of 2015 in view of theories of sovereignty and theories of judgment.

In § 35 of Sein und Zeit Heidegger’s denunciation of Gerede, idle talk, is confident and scathing. It sounds so sinister and threatening. What could Heidegger be talking about? One could cite numerous fictional characters (e.g., Pecksniff, Mrs. Gamp, Skimpole, Podsnap – all in Dickens), characters whose speech is very nearly an idiolect of bad faith. And yet there is something so fascinating and creative in their speech, an exuberance in their dissimulation, that one wouldn’t want to miss them. Could (...) idle talk in Heidegger’s sense contribute to the theoretization of Bakhtin's idea of the dialogic and heteroglossia and to the notion of discours as it has been developed by Benveniste, Barthes, and Genette? In prose fiction language is valorized (often implicitly) in terms of meaning/nonsense, serious/non-serious, full/empty. When in fiction language that is deemed low, formulaic, or “empty”-- gossip, chatter, prattle, idiotismes – comes to the fore the narrative elements falters, “nothing much” is said. But a kind of speech as act and process is foregrounded. It is this kind of inadvertence in language, its “idling” state, that Gerede points to. (shrink)