Is it appropriate to honor artists who have created great works but who have also acted immorally? In this article, after arguing that honoring involves identifying a person as someone we ought to admire, we present three moral reasons against honoring immoral artists. First, we argue that honoring can serve to condone their behavior, through the mediums of emotional prioritization and exemplar identification. Second, we argue that honoring immoral artists can generate undue epistemic credibility for the artists, which can lead (...) to an indirect form of testimonial injustice for the artists’ victims. Third, we argue, building on the first two reasons, that honoring immoral artists can also serve to silence their victims. We end by considering how we might respond to these reasons. (shrink)

Martial-arts practice is not quite anything else: it is like sport, but is not sport; it constantly refers to and as it were cohabits with violence, but is not violent; it is dance-like but not dance. It shares a common athleticism with sports and dance, yet stands apart from both, especially through its paradoxical commitment to the external value of being an instrument of violence. My discussion seeks to illuminate martial arts practice by systematic contrast to games of sport and (...) works of performance art, especially dance. (shrink)

Can we understand what makes someone the same person without understanding what it is to be a person? Prereflectively we might not think so, but philosophers often accord these questions separate treatments, with personal-identity theorists claiming the first question and free-will theorists the second. Yet much of what is of interest to a person—the possibility of survival over time, compensation for past hardships, concern for future projects, or moral responsibility—is not obviously intelligible from the perspective of either question alone. Marya (...) Schechtman encourages us to adopt a more unified perspective. (shrink)

A story does more than recount events; it recounts events in a way that renders them intelligible, thus conveying not just information but also understanding. We might therefore be tempted to describe narrative as a genre of explanation. When the police invite a suspect to “tell his story,” they are asking him to explain the blood on his shirt or his absence from home on the night of the murder; and whether he is judged to have a “good story” will (...) depend on its adequacy as an explanation. Can we account for the explanatory force of narrative with the models of explanation available in the philosophy of science? Or does narrative convey a different kind of understanding, which requires a different model and perhaps even a term other than ‘explanation’? (shrink)

By means of a critical examination of a number of theses as to the nature of game-playing, the following definition is advanced: To play a game is to engage in activity directed toward bringing about a specific state of affairs, using only means permitted by specific rules, where the means permitted by the rules are more limited in scope than they would be in the absence of the rules, and where the sole reason for accepting such limitation is to make (...) possible such activity. (shrink)

Recently David Best has advanced the claim that sport is not an art form, and that although sport may be aesthetic, it is not artistic. Such a claim is false and runs counter to ordinary usage and sport practice. On behalf of sport practice, let me cite as an example the world-class Canadian skater, Toller Cranston, who thinks there are such things as ‘artistic sports, those being gymnastics, diving, figure skating’. Best claims that athletes like Cranston are conceptually confused and (...) that they endow sport with greater respectability than should be allowed. Ascribing the predicate ‘artistic’ to sport performances reflects ‘barbarous usage’. Why does Best exclude the artistic from the realm of sport? Upon examination of his argument, one finds that this exclusion derives mainly from his concepts of art and sport. He thinks that art has a subject-matter, a content, and that sport does not. Sport is contentless, so ‘sport’ and ‘art’ are two logically distinct regions. But is this so? Are we to accept Best's argument or are we to listen to accomplished, reflective athletes in the area of artistic sports? It seems the most reasonable analytic procedure would be to listen to Cranston's case and decide whether such a piece of intentionalist criticism5 should override Best's premises. (shrink)

In The Construction of Social Reality, John Searle argues that there are two kinds of facts--some that are independent of human observers, and some that require..

Marya Schechtman takes issue with analytic philosophy's emphasis on the first sort of question to the exclusion of the second.

Despite the commonly held view that confessing to doping is morally right, few former elite athletes who have doped confess to doping. In this paper, I ask whether elite athletes who have d...

A common argument for the social value of sport is that athletes serve as heroes who inspire people – especially young people – to strive for excellence. This argument has been questioned by sport philosophers at a variety of levels. Not only do athletes seem unsuited to be heroes or role models in the conventional sense, it is unclear more generally what the social and educational value of athletic excellence could be. In this essay, I construct an argument for the (...) social and educational value of sport built upon the relationship between athletes, heroes, and the song culture that celebrated them in ancient Greece. On this model, athletes are neither heroes nor role models in the conventional sense. Rather, athletes, athletics, and the poets who extolled them were part of a cultural conspiracy to celebrate and inspire virtue by connecting a community with its heroic past. Festivals such as the Olympic Games, but also local events such as funeral games, educated and unified communities by cultivating an aesthetic appreciation for virtue and by inspiring youth to strive for it. Ancient athletes were not heroes, rather they re-enacted heroic struggles, thereby experiencing heroic virtues, and inspiring both artists and spectators to bond with the higher ideals implied by their shared belief in divine ancestry. In this way, athletes, athletics, and the media that celebrated them played important social and educational roles. Insofar as modern sport performs a similar service, its association with heroism and with moral education may ultimately be justified. (shrink)

ABSTRACTApproving or disapproving of athletes’ moral conduct and character is commonplace. In this essay I explore to what extent such judgements are valid and reliable moral judgements. I identify some methodological problems associated with making moral judgements particularly, but not exclusively, from a virtue perspective. I argue that we have no reliable access to states of mind needed to make informed evaluations. Moreover, even if such access was available, the validity of our judgements would be compromised or limited by our (...) own moral character.Abbreviations: ECB: England and Wales Cricket Board; VAR: Video Assistant Referee. (shrink)

It is often claimed that elite professional athletes are role models and as such have certain duties to behave in morally appropriate ways. The argument is that given their influential status and influence, they should be good examples rather than bad ones. In relation to alcohol consumption and the problematic behaviours associated with excessive consumption, many professional athletes are bad role models. They consume too much and behave badly. Drawing on neo-Aristotelian insights I argue the following. First, persons who exhibit (...) good character and virtues like self-control are preferable to those who exemplify vice like recklessness and selfishness in general and in relation to alcohol consumption in particular. To exhibit virtue is both good in itself and preferable from a moral education perspective. In other words it is better to exemplify virtue in front of others who may follow the example. Second, acting well and becoming the right sort is notoriously difficult and the moral atmosphere or the ethos of the culture in which virtue plays out has a significant impact. It is important therefore to include the ethos of sporting practice in any proposed reform of drinking behaviour such that tolerance and tacit promotion of masculine drinking practices is eschewed in favour of responsible and considerate consumption. Finally I argue that we must cultivate the proper virtue of emulation so that people who are admired or esteemed (sporting heroes) by young people in particular are not copied blindly. In other words it is important to cultivate a critical capacity to recognise worthy role models and to avoid identifying with unworthy characters, practices and vices. Part of this process is to highlight proper and worthy role models inside and outside of sport. In conclusion, I believe that although bad role models are grabbing the headlines in relation to problematic drinking practices, there are good role models in sport who should be lauded as exemplars of good character living a worthwhile sporting life. Such characters can show those inside and outside the practice community a more responsible and considerate approach to alcohol. (shrink)

The paper argues that authentic human selfhood requires the adequate integration of bodily awareness into the self-conception of self, and that a highly significant contributor to this process is athletic activity (sports). The role of athletics in self-integration is examined from phenomenological and moral-political standpoints, and it is argued that, although athletic activity's inherent goal of realizing ontological unity through embodied intentionality is ideally suited to this task, the organization of sport too frequently thwarts this purpose, either through exclusion of (...) potential athletes or exploitation of committed participants. (shrink)

Despite the numerous instances of PED use in professional sports, there continues to be a strong negative moral response to those athletes who dope. My goal is to offer a diagnosis of this response. I will argue that we do not experience such disdain because these athletes have broken some constitutive rule of sport, but because they have lied about who they are. In violating the constraints of their own public narratives, they make both themselves and their choices unintelligible. This (...) worry becomes especially profound as we care greatly about who our athletes are. Using cases from both athletics and US politics, I argue that certain kinds of lies so violate our understanding of who a person is that we can no longer recognize them as the person we took them to be. Fundamentally, I believe that PED users have lied about something central to their public narratives. I develop this view through an examination of narrative identity, primarily focusing on J. David Velleman’s work on agency and self-constitution. I do not claim that the athlete using steroids is nonidentical to who she would be in the absence of steroid use, but that through use of PEDs, she has misled us about an important component of her pubic narrative and this is difficult for us to reconcile. Ultimately, this has implications for sport as well as other other aspects of human social life. (shrink)

Ethical concepts are, or purport to be, normative. They make claims on us: they command, oblige, recommend, or guide. Or at least when we invoke them, we make claims on one another; but where does their authority over us - or ours over one another - come from? Christine Korsgaard identifies four accounts of the source of normativity that have been advocated by modern moral philosophers: voluntarism, realism, reflective endorsement, and the appeal to autonomy. She traces their history, showing how (...) each developed in response to the prior one and comparing their early versions with those on the contemporary philosophical scene. Kant's theory that normativity springs from our own autonomy emerges as a synthesis of the other three, and Korsgaard concludes with her own version of the Kantian account. Her discussion is followed by commentary from G. A. Cohen, Raymond Geuss, Thomas Nagel, and Bernard Williams, and a reply by Korsgaard. (shrink)

In How We Get Along, philosopher David Velleman compares our social interactions to the interactions among improvisational actors on stage. He argues that we play ourselves - not artificially but authentically, by doing what would make sense coming from us as we really are. And, like improvisational actors, we deal with one another in dual capacities: both as characters within the social drama and as players contributing to the shared performance. In this conception of social intercourse, Velleman finds rational grounds (...) for morality, though not a rational guarantee. He maps a middle course between skepticism and rationalism, arguing that practical reasoning is 'pro-moral' without requiring moral action. The result is what he calls a 'Kinda Kantian metaethics'. How We Get Along is the summation of Velleman's thinking to date, incorporating and unifying previous work on agency, the self, the emotions, narrative and Kantian moral theory. (shrink)

When I was an undergraduate in Oxford, we were taught economics almost as though it were a natural science. The subject matter of economics might be different from physics, but only in the way that the subject matter of chemistry or biology is different from physics. The actual results were presented to us as if they were scientific theories. So when we learned that savings equals investment, it was taught in the same tone of voice as one teaches that force (...) equals mass times acceleration. And we learned that rational entrepreneurs sell where marginal cost equals marginal revenue in the way that we once learned that bodies attract in a way that is directly proportional to the product of their mass and inversely proportional to the square of the distance between them. At no point was it ever suggested that the reality described by economic theory was dependent on human beliefs and other attitudes in a way that was totally unlike the reality described by physics or chemistry. Some years ago, when I published The Construction of Social Reality, I was aware that it had implications for the ontology of economics, but I was not aware that there had already been an important revival of the tradition of institutional economics. It would be an understatement to say that I welcome this interest in institutions; I enthusiastically support it. But I think that in the institutional literature there is still an unclarity about what exactly an institution is. What is the ontology, the mode of existence, of institutional reality? This article tries to add to this discussion. Economics as a subject matter, unlike physics or chemistry, is largely concerned with institutional facts. Facts about money and interest rates, exchange and employment, corporations and the balance of payments, form the very heart of the subject of economics. When Lionel Robbins, in a classic work, tells us that “Economics is a study of the disposal of scarce commodities,”2 he takes for granted a huge invisible institutional.... (shrink)