第二人称观点、规范性与道德可说明性

规范理由与激发理由之间的张力,在现代道德理论的外在"立法"模式的衬托下显得格外突出。不论是第三人称观点的后果主义还是对道义论的某种理解,都不可逃避地存在着这方面的缺陷。达沃尔在他对"第二人称观点"的阐发中,试图调和"费希特观点"、"普芬道夫观点"和"斯特劳森观点",对"规范性的源泉何在"以及"何以理解道德规范的客观性"这两个问题作出回答,从而为理解规范理由与激发理由之间的连接提供了一个可能的途径。     

Morality,Perspective, and Fantasy: A Comment on Sarah Buss

A response to Sarah Buss's article, ‘Some Musings about the Limits of an Ethics that Can Be Applied,’ focusing on issues connected with Buss’s claims about human insignificance, and the indifference to self that the recognition of insignificance allegedly engenders.     

Seeing,mirroring, desiring: The impact of the analyst’s pregnant body on the patient’s body image

The paper explores the impact of the analyst’s pregnant body on the course of two analyses, a young man, and a young woman, specifically focusing on how each patient’s visual perception and affective experience of being with the analyst’s pregnant body affected their own body image and subjective experience of their body. The pre‐verbal or ‘subsymbolic’ material evoked in the analyses contributed to a greater understanding of the patients’ developmental experiences in infancy and adolescence, which had resulted in both carrying a profoundly distorted body image into adulthood. The analyst’s pregnancy offered a therapeutic window in which a shift in the patient’s body image could be initiated. Clinical material is presented in detail with reference to the psychoanalytic literature on the pregnant analyst, and that of the development of the body image, particularly focusing on the role of visual communication and the face. The author proposes a theory of psychic change, drawing on Bucci’s multiple code theory, in which the patients’ unconscious or ‘subsymbolic’ awareness of her pregnancy, which were manifest in their bodily responses, feeling states and dreams, as well as in the analyst s countertransference, could gradually be verbalized and understood within the transference. Thus visual perception, or ‘external seeing’, could gradually become ‘internal seeing’, or insight into unconscious phantasies, leading to a shift in the patients internal object world towards a less persecutory state and more realistic appraisal of their body image.     

Autonomy,Reciprocity, and Responsibility: Darwall and Levinas on the Second Person

Abstract

Stephen Darwall’s The Second‐Person Standpoint converges with Emmanuel Levinas’s concern about the role of the second‐person relationship in ethics. This paper contrasts their methodologies (regressive analysis of presuppositions versus phenomenology) to explain Darwall’s narrower view of ethical experience in terms of expressed reactive attitudes. It delineates Darwall’s overall justificatory strategy and the centrality of autonomy and reciprocity within it, in contrast to Levinas’s emphasis on the experience of responsibility. Asymmetrical responsibility plays a more foundational role as a critical counterpoint to ‘mean‐spirited’ reciprocity than Darwall’s laudable distinction between accountability and revenge, and responsibility even founds this distinction. The experience of being summoned to asymmetrical responsibility amplifies the meaning of ‘authority’, which is a presupposition for Darwall. Finally, asymmetrical responsibility helps develop decentred reasoning, invites risk beyond the boundaries of reciprocity at moments when autonomy appears endangered, reconciles respect and care at the experiential level, and presses to extend the scope of moral obligation.     

‘About’ Puzzles,Muddles and First Person Inferences

Often we have coarsely grained knowledge: for example, we know about how many people are present. In possessing such knowledge, we also have finer grained knowledge of what is not: there certainly is nothing like that number of people here. The combination of such knowledge types, through sorites, generates contradiction and bafflement. This paper seeks to resolve the bafflement: it rejects a Timothy Williamson proposal, introduces muddle numbers and inference gaps, and shows how the different grains of knowledge do not always meet. In so doing, the paper identifies a distinctive first‐person inferring.     

Art and the ‘Morality System’: The Case of Don Giovanni

Mozart's great opera, Don Giovanni, poses a number of significant philosophical and aesthetic challenges, and yet it remains, for the most part, little discussed by contemporary philosophers. A notable exception to this is Bernard Williams's important paper, ‘Don Juan as an Idea’, which contains an illuminating discussion of Kierkegaard's ground‐breaking interpretation of the opera, ‘The Immediate Erotic Stages or the Musical‐Erotic’, in Either/Or. Kierkegaard's pseudonymous author's (A) approach here is, in some respects, reminiscent of a currently rather fashionable narrative‐inspired moral philosophy, of which Williams himself is perhaps the most impressive recent exponent. In the light of this apparent methodological confluence, Williams's disagreement with A about the meaning of Don Giovanni's final two scenes seems particularly significant. By offering an interpretation of Don Giovanni that both retains A's fundamental ideas and manages to get round the problems in Williams's account, I will show that the greatness of Mozart's opera is largely a function of the challenge it presents to the ‘morality system’.     

Teachers’ Perceptions of Students’ Creativity in China’s Classrooms: The Role of Students’ Academic Achievement and Misbehaviors

Teachers can be biased, especially toward low achievers and students with behavioral issues. However, creative students often appear to be disruptive in the classroom, and many of them struggle academically. The purpose of the present study was to examine the extent to which teachers’ perceptions of students’ creativity is associated with students’ academic achievement and classroom (mis)behaviors, as well as to examine the interaction between these two factors. Three hundred and fifty‐four eighth‐grade students selected from five middle schools in China participated in this study. Using achievement scores, peer nominations, a divergent thinking test, a self‐rated ideational behavior scale, and teacher ratings, the present study found that, whereas creativity has no significant relationship with teachers’ perceptions, academic achievements and misbehavior are significantly associated within structors’ perceptions. The achievement bias resulted in the underestimation of low achievers’ creativity, even when the low achievers were highly creative. More nuances emerged when student misbehaviors were considered. Specifically, misbehaving low achievers’ originality was further underestimated even when they were highly original. In contrast, teachers overestimated well‐behaved high achievers’ creativity, even when the students comprised the lowest creativity group. The results are further discussed from a socio‐cultural perspective.     

Asperger’s and musical creativity: The case of Erik Satie

The link between psychopathology and creativity was investigated in the study of one individual: the French composer Erik Satie. The current literature puts much emphasis on the connection between creativity and the psychoses – such as schizophrenia and the affective disorders – but there is relatively little concerning other psychological disorders. Nevertheless, there has been a recent upswing in the study of autism and associated disorders (such as Asperger’s syndrome), and their association with creativity. The literature reviewed here included a number of biographies, books about the autism spectrum disorders, and articles detailing the psychopathology-creativity link. The aim was not to diagnose Satie with a psychological disorder, but to illustrate that he, who was highly creative, innovative and influential in the development of 20th century music, displayed many of the personality traits typical of Asperger’s syndrome. These include perfectionism, perseverance, hatred of conventions, and heightened sensitivity; these combined enabled Satie to devise his own original musical idiom. This case study alone does not – and was not intended to – answer the overall question regarding the existence of a psychopathology-creativity link; but it does support the idea in the context of current literature.