This paper will show that if we take conventional ethics seriously, then there is no moral justification for business profits. To show this, we explore three conventional ethical theories, namely Christian ethics, Kantian ethics and Utilitarian ethics. Since they essentially reject self-interest, they also reject the essence of business: the profit motive. To illustrate the relationship, we will concretize how the anti-egoist perspective expresses itself in business and business ethics. In business, we look at what many businesses regard as proof (...) of their virtue. In business ethics, we look at what many business ethicists say about the relationship between morality and self-interest and, thus, the profit motive. Ultimately, we will argue that conventional ethics can, at most, only justify the means of business, but not the end of business. (shrink)

This study aimed to explore the role of two models of well-being in the prediction of psychological distress during the COVID-19 pandemic, namely PERMA and mature happiness. According to PERMA, well-being is mainly composed of five elements: positive emotions, engagement, relationships, meaning in life, and achievement. Instead, mature happiness is understood as a positive mental state characterized by inner harmony, calmness, acceptance, contentment, and satisfaction with life. Rooted in existential positive psychology, this harmony-based happiness represents the result of living in (...) balance between positive and negative aspects of one's life. We hypothesized that mature happiness would be a more prominent protective factor during the present pandemic than the PERMA composite. A total of 12,203 participants from 30 countries responded to an online survey including the Depression Anxiety Stress Scale (DASS-21), the PERMA-Profiler, and the Mature Happiness Scale-Revised (MHS-R). Confirmatory factor analyses indicated that PERMA and mature happiness were highly correlated, but nonetheless, they represented two separate factors. After controlling for demographic factors and country-level variables, both PERMA Well-being and MHS-R were negative predictors of psychological distress. Mature happiness was a better predictor of stress, anxiety, and general distress, while PERMA showed a higher prediction of depression. Mature happiness moderated the relation between the perceived noxious effects of the pandemic and all markers of distress (depression, anxiety, stress, and total DASS-21). Instead, PERMA acted as a moderator in the case of depression and stress. These findings indicate that inner harmony, according to the mature happiness theory, is an essential facet of well-being to be taken into consideration. The results of this study can also orient policies aimed to alleviate the negative effects of the pandemic on mental health through the promotion of well-being. (shrink)

This paper explores the connections between and synthesis of Anarchist political philosophy with the ethical systems of the late Roman Stoics. Utilizing a dialectic virtue model, reminisce of Hegelian development, the analysis centers around the ways in which stoic virtue theory can be applied within anarchist social structure and the consequences of such a combination. Anarchism provides a particularly flexible framework for implementation; such a system’s loose structure, with the primary thesis of anti-statism, varies greatly between individuals and groups. Stoic (...) ethics share in anarchism’s need to reconcile the individual moral agent with their role in the moral community, and this connection is one in which the individual sovereignty and the wider community may be brought into a greater degree of flourishing. Stoicism is oft perceived as mostly conservative, yet not out of necessity, while Anarchism’s progressive libertarian nature allows for wide interpretation. A Dialectic Virtue Theory can be utilized as a vehicle to connect these two traditions—Stoicism being it’s exemplar, and Anarchism's natural freedom of interpretation and practice. Virtue will then be explored as something which, when pursued in earnest, increases the flourishing of the individualist as well as the communitarian. Individual Liberty will take center stage, and as we will see this is echoed in the stoic conceptions of self-discipline; to discipline one’s own individual attainment of virtue will have ripple effects when given the space to do so, and since this discipline does not come from a higher authority (ie. the state), this maps particularly well to anarchist political thought. Hereby the individual is given the utmost freedom to develop their own ethics of virtue while contributing positively to the generalized virtue of the larger community, and both grow evermore sophisticated via this dialectical exploration. This thesis asserts that the system which can be constructed from these traditions is not only preferable, but logically sound, just, and attainable. This then ushers in the newest in a long line of anarchist variance which we shall now call Anarcho-Stoicism. (shrink)

Disney’s Frozen (2013) and Frozen 2 (2019) are among the highest-grossing films of all time (IMDb 2021) and are arguably among the most influential works of fantasy produced in the last decade in any medium. The films, based loosely on Hans Christensen Andersen’s “The Snow Queen” (Andersen 2014) focus on the adventures of the sisters Anna and Elsa as they, together with their companions, seek to safeguard their people both from external threats and (importantly) from Elsa’s inabilities to control her (...) magical abilities to summon ice and snow. While Anna’s choices drive much of the action of both films, Elsa has undoubtedly been the more influential and popular of the two characters, as indicated by measures such as merchandise sales (Ellen Byron and Paul Ziobro 2014), Google search data (Play Like Mum 2020), and even baby name choices (Wolfers 2015). -/- Despite her popularity, Elsa is in many ways a paradoxical sort of hero, as she finds her actions all but predetermined by both external and internal forces. This is particularly the case in the first film, where we meet an Elsa who has been born with a power she cannot control, and which appears more as a force of nature than as anything that “belongs” to Elsa. The film’s action is driven, in large part, precisely by Elsa’s failures to exert control over her emotions and abilities. She begins the film by accidentally injuring Anna. This, in turn, causes Elsa to become fearful and withdrawn and to isolate herself from her sister, even after their parents die on a quest to find a cure for Elsa. Elsa's fear and lack of control lead to an even more dire outcome when she inadvertently calls down winter on Arendelle and abandons her people for the mountains. It is only through Anna's devoted quest to rescue her sister, first by pursuing her to the mountains, and later by throwing herself in front of the villainous Hans’ sword attack on her sister, that Elsa (and Arendelle) are saved. Elsa's most active contribution to this is to appreciate the import of Anna's sacrifice and to discover the power of "love" to overcome her fear. -/- What then, are we to make of Elsa as a character? It is the younger sister Anna who corresponds most closely to Gerda, the unquestioned protagonist of Andersen’s original tale, and her character arc fits neatly with the well-known “Hero’s Journey” model for describing myth (Campbell 2020). It is Anna, for example, who goes on a quest, meets a group of motley companions (the human Kristoff, the reindeer Sven, and the magical snowman Olaf), accepts advice from wise elders (the trolls), undergoes a severe trial, and even gets the "reward" of romantic love at the end. All of this has led some scholars (Niemiec and Bretherton 2015; Heit 2019) to hold up Anna, rather than Elsa, as something like the hero of the story. Existing scholarship on Elsa, by contrast, has focused largely on issues related to her gender and sexuality (Law 2014; Lee 2015; Steinhoff 2017; Streiff and Dundes 2017; Dundes, Streiff, and Streiff 2018; Dundes 2020; Llompart and Brugué 2020). In what follows, I’ll be taking a closer look at Elsa’s unique status as a protagonist, and what her struggles with fate reveal about the nature of free will and ethical responsibility. I’ll argue that Elsa provides a useful model of a “Stoic hero” and that her strengths and weaknesses as a character provide valuable insight into an often-misunderstood school of philosophy. My argument will proceed in several stages. I’ll begin by describing the basic tenets of Stoic philosophy, paying special attention to the role of fate and nature. I’ll then move on to a more detailed treatment of Stoic ethics, as exemplified by Elsa’s own character development. I’ll close by considering the infamous “Lazy Argument” against. (shrink)