Claims that the self and experience in general are narrative in structure are increasingly common, but it is not always clear what such claims come down to. In this paper, I argue that if the view is to be distinctive, the element of narrativity must be taken as literally as possible. If we do so, and explore the consequences of thinking about our selves and our lives in this manner, we shall see that the narrative view fundamentally confusues art and (...) life. We learn from art itself that our selves and lives transcend narratives and that thinking in a narrative manner ignores the rich complexity of individual persons. Footnotes1 I am grateful to John Cottingham, Galen Strawson, Bart Streumer and Douglas Farland for helpful comments on an earlier draft of this paper. (shrink)

Our attitude towards cynicism is ambivalent: On the one hand we condemn it as a character failing and a trend that is undermining political and social life; on the other hand, we are often impressed by the apparent realism and honesty of the cynic. My aim in this paper is to offer an account of cynicism that can explain both our attraction and aversion. After defending a particular conception of cynicism, I argue that most of the work in explaining the (...) fault of cynicism can be done by referring not to the cynic’s beliefs about humanity, but to the attitude cultivated as a response to that belief. This attitude is hostile to the virtues of faith, hope and charity, upon which relationships and our sense of moral community depend. In conclusion, I suggest that holding the cynical belief is itself immoral, and that cynicism is disrespectful and destructive of morality. (shrink)

Taking hunting as an example, an account of animal beauty as animation can be developed. Our delight in many kinds of animals is crucially a matter of an aesthetic property which can be called “the animate” or “animation.” A proper response to animate animal beauty is a virtuous character trait that hunters lack. The beauty of animals calls for particular responses from observers: it brings along certain duties and requires the cultivation of certain traits of character—ones that are incompatible with (...) hunting animals. An argument against hunting animals can move from aesthetic value to ethical value relying on the aesthetic notion of disinterestedness. (shrink)

This is an essay in appreciation of The Abundant Herds, a study of the ama-Zulu's naming practices for their Nguni cattle. The book reveals an aesthetic vision in which contemplative and practical attention are intertwined and a complex classificatory system does not undermine an appreciation of the individuality of the cattle. The book and the practices it celebrates permit a richer account of the beauty of farm animals to the standard functionalist approach.

Few contemporary philosophers have made as wide-ranging and insightful a contribution to philosophical debate as John Cottingham. This collection brings together friends, colleagues and former students of Cottingham, to discuss major themes of his work on moral philosophy. Presented in three parts the collection focuses on the debate on partiality, impartiality and character; the role of emotions and reason in the good life; the meaning of a worthwhile life and the place of theistic considerations in it. The original contributions to (...) this volume celebrate Cottingham’s work by embracing and furthering his arguments and, at times, in the best spirit of philosophical engagement, challenging and confronting them. The volume concludes with Cottingham’s specially commissioned responses to the contributions. (shrink)

This paper replies to the responses in this special issue to my essay, ‘How Do I Live in This Strange Place?&rsquo.

In lieu of an abstract, here is a brief excerpt of the content:IntroductionSpatial, Environmental, and Ecocritical Approaches to Holocaust MemoryEmily-Rose Baker (bio), Michael Holden (bio), Diane Otosaka (bio), Sue Vice (bio), and Dominic Williams (bio)The successful implementation of genocide during the Holocaust depended on the spatial organisation of mass murder. From the concentrated ghettos and camps delimited by walls and barbed wire to the open fields and camouflaged forests where victims were shot en masse, Anne Kelly Knowles et al. argue, (...) specific locations, patterns of migration, deportation and evacuation, and other spatial elements such as scale, were all central to the Nazi regime's creation of a "comprehensive geography of oppression."1 This is hardly surprising given the biopolitical logics and colonial fantasies underpinning Lebensraum ('living space'), the territorial concept guiding the genocidal aims of the Third Reich, which designated zones of life as well as the inverse on the European continent. The Holocaust was also experienced spatially by its victims, who were forced to navigate new (and at times familiar) sites and landscapes as those of genocide, and whose testimonies in the aftermath of the event conjured these very places in detail.In recent years, the spaces of the Holocaust have been variously revisited, reconstructed, and reimagined within Holocaust studies scholarship. As a broader part of the 'spatial turn' in the humanities, Holocaust scholars have increasingly employed spatial perspectives of the event to deepen our understanding of the environments in which the Holocaust took place and the transformation of these spaces over time—particularly in the fields of history and social science.2 While drawing on diverse modes of spatialisation from interdisciplinary perspectives, contributions from these fields have tended to privilege methods we might describe as variously 'forensic,' including mapping, model-making, and investigations of material traces of the past.3 This work has resulted in many significant insights, not only into the [End Page 1] contexts and structures of Nazi genocide and the perpetrator imaginings of space, but also the experiences of victims and survivors.4Another significant body of work has attended to space and culture within Holocaust contexts. From early on in the postwar period, particular locations and buildings became identified with the Holocaust, such as the notorious entrance guard house at Auschwitz-Birkenau, which appears on countless book covers as well as within films and artworks. Engaging with spatial insights and methodologies from the perspective of cultural and memory studies, scholars have attested to the production and mnemonic significance of these and less well-known sites, as well as the symbolic spatial worlds and experiences to which they give rise. These include Paul Jaskot and Gavriel Rosenfeld, who have turned respectively to Holocaust and post-Holocaust architectures as commonly overlooked sites of history and memory. Drawing attention to the construction of Holocaust space, Jaskot shows how reading architecture 'as process' rather than static structures laden with symbolic meaning reveals unique histories of forced labor in which "the goals of the SS intersected with victims' experience."5 Rosenfeld demonstrates the ways in which spaces built in response to Nazi genocide after 1945 have been variously "imbued with Jewish significance" by their users and creators, resulting in the rise to prominence of Jewish-identified architects.6 Along similar lines, Michael Meng's work has explored the ways in which Jews and gentiles interact with ruined synagogues, cemeteries and Jewish districts as important remnants of pre-war Jewish life in the post-war period in German and Polish cities.7Studies such as those noted above have tended to focus on cities and public buildings, as well as state and civic policy. But as the spatial histories and geographies of the Holocaust have helped to show, extermination often took place in rural settings (mostly located in Central and Eastern Europe), such as the killing fields where Jews were shot en masse; the forests where victims hid and were hunted by Germans and local collaborators; or the open spaces of the dissolving Reich through which former concentration camp inmates were forced to march during the final year of the war—sites in which, owing to less contained spatial dynamics, violence played out differently.8These kinds of sites, which are sparsely documented and often simply thought of... (shrink)

It seems to be a phenomenon of contemporary life that we consider goodness embarrassing and rather dull. In contrast, the activities and inner lives of villains are deemed more complex and fascinating than those of good people. This paper attempts to understand the conception of goodness that underlies this phenomenon, and I suggest that informing it is the combination of two ideas, in tension with each other: firstly, a distorted understanding of the ancient conception of full virtue as the absence (...) of all inner conflict; and secondly, the intuition that real goodness is only apparent and generated in inner conflict. In response, I offer an alternative picture of goodness as an ongoing, active and progressive relation to value, and conclude that in order to render goodness attractive again we need more adequate portraits of goodness from both philosophy and art. (shrink)

This volume of contributed, previously unpublished essays focuses on general theoretical, meta-ethical and aesthetic issues in philosophy and the ways in which ...

In this paper I discuss Gillian Brock’s and Michael Blake’s discussion of emigration in Debating Brain Drain in relation to the particular case of South Africa, and explore whether skilled white people have a duty to remain in the country. Focusing on the role of community in this debate, I argue that communities and allegiances in South Africa are still too divided and antagonistic for them to play the duty-grounding role that Brock requires.

This paper is a response to recent student protests at South African universities, and the essentialising rhetoric and practices that characterise South African public debates. I explore the likely responses of white South Africans to views that seem to make their whiteness inescapable and necessarily morally bad.

This paper considers Tabensky's method of critical introspection, and in particular the conception of personhood that informs it. By interrogating the lives of pure hedonism, divinity and immortality from our already existing conception of personhood, Tabensky argues that such lives are incompatible with what it is to be a person, and desiring to live them is therefore irrational. Concentrating on the example of immortality, I argue that, while there are undoubtedly disadvantages associated with the immortal life, these are contingent rather (...) than essential to the notion of being a person. In fact, we have very little idea of the boundaries of that concept. The paper concludes by looking at the consequences of Tabensky's approach for issues surrounding moral vision and improvement, and new technologies of the person. S. Afr. J. Philos. Vol.23(4) 2004: 365-374. (shrink)

Gerald Dworkin's influential account of Personal Autonomy offers the following two conditions for autonomy: Authenticity - the condition that one identify with one's beliefs, desires and values after a process of critical reflection, and Procedural Independence - the identification in must not be "influenced in ways which make the process of identification in some way alien to the individual" . I argue in this thesis that there are cases which fulfil both of Dworkin's conditions, yet are clearly not cases of (...) autonomy. Specifically, I argue that we can best assess the adequacy of Dworkin's account of autonomy through literature, because it provides a unique medium for testing his account on the very terms he sets up for himself - ie. that autonomy apply to, and make sense of, persons leading lives of a certain quality. The examination of two novels - Kazuo Ishiguro's The Remains of the Day and Henry James's The Portrait of a Lady - shows that Dworkin's explanation of identification and critical reflection is inadequate for capturing their role in autonomy and that he does not pay enough attention to the role of external factors in preventing or supporting autonomy. As an alternative, I offer the following two conditions for autonomy: critical reflection of a certain kind - radical reflection, and the ability to translate the results of into action - competence. The novels demonstrate that both conditions are dependent upon considerations of the content of one's beliefs, desires, values etc. Certain of these will prevent or hinder the achievement of autonomy because of their content, so autonomy must be understood in relation to substantial considerations, rather than in purely formal terms, as Dworkin argues. (shrink)

This book presents a novel account of the aesthetics of animals. The author argues that the appreciation of animal beauty carries profound ethical consequences for our relations to our fellow creatures.