Tomasello's tin man of moral obligation needs a heart

2020 ◽  
Vol 43 ◽  
Author(s):  
Jeremy I. M. Carpendale ◽  
Charlie Lewis
Keyword(s):  
Moral Obligation ◽  
Developmental System ◽  
Concern For Others

Abstract In place of Tomasello's explanation for the source of moral obligation, we suggest that it develops from the concern for others already implicit in the human developmental system. Mutual affection and caring make the development of communication and thinking possible. Humans develop as persons within such relationships and this develops into respect and moral obligation.

Supervisors' abuse of customers: The moderating role of moral obligation

2009 ◽  
Author(s):  
Rebecca L. Greenbaum ◽  
Mary Bardes ◽  
David M. Mayer ◽  
Manuela Priesemuth
Keyword(s):  
Moral Obligation ◽  
Moderating Role

Exploring the limits of selfless concern for others

2011 ◽  
Author(s):  
Nathan L. Arbuckle ◽  
William A. Cunningham
Keyword(s):  
Concern For Others

Increasing concern for others in antisocial individuals

2014 ◽  
Author(s):  
Nathan Arbuckle ◽  
Matthew Shane ◽  
William Cunningham
Keyword(s):  
Concern For Others

Adaptations of Time Travel Narratives in Japanese Multimedia: Nurturing Eudaimonia across Time and Space

2014 ◽  
Vol 7 (2) ◽  
pp. 136-151 ◽  
Author(s):  
Sung-Ae Lee
Keyword(s):  
Travel Narratives ◽  
Time Travel ◽  
Cultural Knowledge ◽  
Human Beings ◽  
The Core ◽  
The Past ◽  
Life Styles ◽  
Concern For Others ◽  
The Future ◽  
Live Action

To displace a character in time is to depict a character who becomes acutely conscious of his or her status as other, as she or he strives to comprehend and interact with a culture whose mentality is both familiar and different in obvious and subtle ways. Two main types of time travel pose a philosophical distinction between visiting the past with knowledge of the future and trying to inhabit the future with past cultural knowledge, but in either case the unpredictable impact a time traveller may have on another society is always a prominent theme. At the core of Japanese time travel narratives is a contrast between self-interested and eudaimonic life styles as these are reflected by the time traveller's activities. Eudaimonia is a ‘flourishing life’, a life focused on what is valuable for human beings and the grounding of that value in altruistic concern for others. In a study of multimodal narratives belonging to two sets – adaptations of Tsutsui Yasutaka's young adult novella The Girl Who Leapt Through Time and Yamazaki Mari's manga series Thermae Romae – this article examines how time travel narratives in anime and live action film affirm that eudaimonic living is always a core value to be nurtured.

Kesantunan Pragmatik dalam Irai Hyougen Bahasa Jepang pada Acara Berita Asaichi

Metahumaniora ◽  
2019 ◽  
Vol 9 (1) ◽  
pp. 101
Author(s):  
Thamita Islami Indraswari ◽  
Riza Lupi Ardiati
Keyword(s):  
Conversational Implicature ◽  
Pragmatic Approach ◽  
Concern For Others ◽  
Television Programme ◽  
Japanese Television

Penelitian ini berfokus pada deksripsi bentuk irai hyougen dan bentuk kesantunan dalam irai hyougen yang muncul pada percakapan di acara berita Asaichi. Penelitian dilakukan lewat kajian pragmatik. Identifikasi komponen percakapan yang mengandung irai hyougen dilakukan berdasarkan bentuk irai hyougen maupun implikasi percakapan. Penanda kesantunan diamati lewat kemunculan ungkapan hormat, ungkapan kerendahan hati, ungkapan penimbang rasa, ungkapan beri-terima, serta ungkapan tidak langsung. Hasil penelitian menunjukkan bahwa pada acara Asaichi, irai hyougen dinyatakan dalam bentuk suikoukei irai hyougen, meireikei irai hyougen, youkyuukei irai hyougen, ganbou hyoushutsuteki irai hyougen, dan enkyokuteki irai hyougen. Penanda kesantunan irai hyougen ditemukan dalam bentuk penggunaan kenjougo, penggunaan bentuk formal dari nomina dan pronomina, sebutan hormat, penggunaan irai dalam bentuk tidak langsung, penambahan adverbia maupun partikel akhir kalimat untuk menunjukkan rasa hormat pada petutur, menunjukkan kerendahan hati, empati, kehati-hatian, penghindaran kesan paksaan serta penghalus tuturan. This article examine form of irai hyogen and politeness which reflected in irai hyougen in Japanese television programme called Asaichi. In this study, using pragmatic approach, forms of irai hyougen  are being examined through lexical forms, grammatical forms and conversational implicature. Politeness in irai hyougen are being examined by the emergence of expression of respect, expression of humility, expression of concern for others, expression of giving and receiving favor, indirect expression in irai hyougen. The findings of the study showed that in Asaichi, irai hyogen are expressed through suikoukei irai hyougen, meireikei irai hyougen, youkyuukei irai hyougen, ganbou hyoushutsuteki irai hyougen, and enkyokuteki irai hyougen. Politeness in irai hyougen can be identified by the use of kenjougo, formal forms of noun or pronoun to defer the hearer, terms of respect, indirect request pattern, the use of adverbs and sentence ending particles to show humility, empathy, carefulness, to smooth the request, and avoiding constraint in request are preferable.

“They can learn to say my name”: Redistributing Responsibility for Integrating Immigrants to Canada

2017 ◽  
Vol 58 (1) ◽  
pp. 46-59 ◽  
Author(s):  
Karen Pennesi
Keyword(s):  
Moral Obligation ◽  
Host Society ◽  
Self Focusing

Newcomers to Canada whose names index identities other than “white” and “English” face pressure to alter their names to facilitate integration. Some immigrants oppose the forces of conformity and refuse to assimilate their names. In interviews, they explain this stance using discourses of agency centring on a belief in true names, a moral obligation to get names right, and a need for a strong self. Focusing on ideologies of identity and language in their meta-agentive discourses, I argue that the act of immigrants keeping their ethnic names is a political move to redistribute responsibility for the integration of newcomers into the host society.

MAKOTO AS THE INITIAL PRINCIPLE OF THE ETHICAL AND AESTHETIC BELIEFS OF THE JAPANESE

2020 ◽  
pp. 126-138
Author(s):  
M. P. Gerasimova ◽  
Keyword(s):  
Moral Obligation ◽  
Driving Factors ◽  
Chinese Characters ◽  
Spiritual Values ◽  
Conceptual Apparatus ◽  
Hieroglyphic Writing ◽  
The Aesthetic ◽  
The Relationship ◽  
Aesthetic Ideal

Makoto (まこと, lit.: truth, genuineness, reality, “realness”) is an element of the conceptual apparatus of the traditional worldview of the Japanese. In Japan, it is generally accepted that makoto is a philosophical and aesthetic concept that underlies Japanese spirituality, involving among other principles understanding of the order and laws of the truly existing Universum (shinrabansho̅; 森羅万象) and the universal interconnectedness of things (bambutsu ittai; 万物一体), the desire to understand the true essence of everything that person meets in life, and, unlike other spiritual values, is purely Shinto in origin. After getting acquainted with the Chinese hieroglyphic writing three Chinese characters were borrowed for the word makoto. Each of these characters means truthfulness, genuineness, but has its own distinctive nuances: 真 means truth, authenticity, truthfulness, 実 signifies truth, reality, essence, content, and 誠 again means truthfulness, sincerity, and truth. Makoto (“true words”) and makoto (“true deeds”) imply the highest degree of sincerity of words and honesty, correctness of thoughts, actions, and deeds. The relationship “true words — true deeds” can be seen as one of the driving factors of moral obligation, prompting everyone in their field, as well as in relations between people, to strive to be real. This desire contributed to the formation of a heightened sense of duty and responsibility among the Japanese, which became a hallmark of their character. However, makoto has not only ethical connotation, but aesthetic one as well, and can be considered as the basis on which were formed the concept of mono no aware (もののあ われ、 物の哀れ) and the aesthetic ideal of the same name, that became the first link in the chain of japanese perceptions of beauty. Each link in this chain is an expression of a new facet of makoto, which was revealed as a result of certain elements of the worldview that came to the fore in the historical era.

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