THE CONCEPT OF HUMAN DIGNITY AND THE REALISTIC UTOPIA OF HUMAN RIGHTS

Abstract: Human rights developed in response to specific violations of human dignity, and can therefore be conceived as specifications of human dignity, their moral source. This internal relationship explains the moral content and moreover the distinguishing feature of human rights: they are designed for an effective implementation of the core moral values of an egalitarian universalism in terms of coercive law. This essay is an attempt to explain this moral‐legal Janus face of human rights through the mediating role of the concept of human dignity. This concept is due to a remarkable generalization of the particularistic meanings of those “dignities” that once were attached to specific honorific functions and memberships. In spite of its abstract meaning, “human dignity” still retains from its particularistic precursor concepts the connotation of depending on the social recognition of a status—in this case, the status of democratic citizenship. Only membership in a constitutional political community can protect, by granting equal rights, the equal human dignity of everybody.     

Who speaks? Who looks? Who feels? Point of view in autobiographical narratives1

In this paper, the author aims to substantiate Freud's claim that neurotic illness creates gaps in autobiographical narratives in terms of the narrator's stating and inducing perspectives. He sketches out the role of narrative perspective and the joint taking of a shared perspective by analyst and patient in psychoanalytic therapy. He introduces four ways of representing perspectives in narratives. Three degrees of narrative distortion are exemplifi ed by three excerpts from life narratives and explored in terms of narrative perspective representation. The most comprehensive perspective representation is achieved in the fi rst example by explicitly stating the present perspective of the narrator as well as the past perspective of the story's protagonist by use of mental verbs. In the second narrative, exclusive use of linguistic forms for inducing the protagonist's perspective both overwhelms the narrator and gives the listener an incomplete picture of what happened. Inconsistent motives, denial of responsibility and omission of detail render the third narrative even more diffi cult to follow. The author discusses the clinical signifi cance of this exploratory analysis of perspectives in narratives in terms of claiming responsibility for one's past action and of level of defence mechanisms, and by highlighting the emotional impact on listeners, which the author suggests is the stronger the more perspectives are left out. He discusses analogies to countertransference. The analysis of narrative perspectives offers an approach for systematic research in psychoanalytic practice.     

Arguments from Aesthetic Merit to Fictional Content

Often, part of the fictional content of a narrative is not stated explicitly. Interpreters are frequently concerned with establishing this content. In doing so, they sometimes argue that, fictionally, something is the case because under that interpretation, the aesthetic merit of the work would be greater than under an alternative interpretation. The move from what would be of greater aesthetic merit to what is (fictionally) the case raises questions regarding the argumentative force of such arguments: How exactly do the premises of arguments from aesthetic merit to fictional content (for short: Afams) establish their conclusions? This paper spells out four ways to reconstruct the argumentative structure of Afams: In Section ii , we analyze two possibilities to establish Afams as deductive arguments; Section iii is concerned with a reconstruction based on a constructivist picture of literature and literary interpretation; and in Section iv, we look at a nondeductive reconstruction of Afams in accordance with an intentionalist framework. While we conclude that all four reconstructions can account for the argumentative force of Afams, the ultimate acceptability of each reconstruction rests on the readers’ commitment to background assumptions concerning the theory of interpretation.