scholarly journals Foruroligende etik i Heinrich von Kleists »Michael Kohlhaas«

2009 ◽  
Vol 36 (106) ◽  
pp. 70-95
Author(s):  
Maria Jørgsen
Keyword(s):  
Final Section ◽  
Central Place ◽  
The Self ◽  
Kantian Ethics ◽  
The Sublime ◽  
Self Interest ◽  
Louis Xvi ◽  
Kant's Ethics

Disquieting Ethics in »Michael Kohlhaas« by Heinrich von Kleist:This article argues that the concept of evil takes a central place in the exploration of the Kantian ethics in Heinrich von Kleist’s novella »Michael Kohlhaas«.Maria Jørgensen argues that not only is the famous duty to which Kohlhaas finds himself obliged conceived in accordance with Kant’s ethics of duty, but also the description of Kohlhaas’ subjectivity in general is constructed by means of Kantian terms. Kleist’s text makes use of concepts such as duty, freedom, pathology, universality and the sublime in order to construct Kohlhaas as an inherently decentered subject. Furthermore Jørgensen argues that the emptying of the concept of the Good in Kantian ethics surfaces in Kleist’s novella as a hitherto unnoticed tendency to a certain tautologisation in Kohlhaas’ qualitative judgments.In the final section of the article the evil act in »Michael Kohlhaas« as an act of freedom, »Aktus der Freiheit«, is investigated with a departure in the Kantian concept of diabolical evil in Religion innerhalb der Grenzen der bloßen Vernunft. If Kohlhaas’ first attempt to act ethically is contaminated by the self-interest which sticks to his initial duty to secure redress for the wrongs done to him and his fellow citizens by the Junker von Tronka, his last act of refusing to negotiate with the Elector of Saxony functions as a purely ethical act in Kantian terms. Kohlhaas’ act can be seen as an ethical act as it neglects the subject’s pathology, which according to Kant can only be done by an act of reason. Furthermore the act is in keeping with the criteria which Kant, according to Alenka Zupančič, delivers in the famous footnote on the execution of Louis XVI in Metaphysik der Sitten: The act is characterized by being purely formal, it arises from a maxim, and it is first of all an act of freedom. This article thus argues that »Michael Kohlhaas« evidently contains a fulfilled ethical act in Kantian terms, but that this act must be found in quite another place than previously assumed.

scholarly journals Kant, Eudaimonism, Act-Consequentialism and the Fact of Reason

2020 ◽  
Vol 102 (2) ◽  
pp. 209-241
Author(s):  
Martin Sticker
Keyword(s):  
The Self ◽  
Viable Alternative ◽  
Self Interest ◽  
Act Consequentialism ◽  
New Interpretation ◽  
Kant's Ethics ◽  
Abstract Feature

AbstractKant considers eudaimonism as his main opponent and he assumes that his ethics is the only viable alternative to eudaimonism. He does not explicitly address theories differing from both eudaimonism and from his own. I argue that whilst Kant and Act-Consequentialists advocate different normative principles, their positions share the important abstract feature that they establish what is to be done from a rational principle and not based on what is in the self-interest of the respective agent, as Kant thinks eudaimonism does. Act-Consequentialism is thus closer to Kant’s ethics than is often assumed. I will demonstrate and vindicate this point with a new interpretation of the Fact of Reason. This reading also establishes that the notion of a Fact of Reason is less contentious than many of Kant’s critics believe. We should not expect that the Fact establishes Kantianism. Instead, the Fact is only supposed to count against a specific competing view of morality, namely, eudaimonism. Act-Consequentialists can accept the Fact as well.

The Self-Undermining State

2017 ◽  
Author(s):  
Arjun Chowdhury
Keyword(s):  
State Formation ◽  
Final Section ◽  
The State ◽  
The Self ◽  
Central Authority ◽  
Interstate War ◽  
External Threats ◽  
Willingness To Sacrifice ◽  
The Cost

This chapter provides an informal rationalist model of state formation as an exchange between a central authority and a population. In the model, the central authority protects the population against external threats and the population disarms and pays taxes. The model specifies the conditions under which the exchange is self-enforcing, meaning that the parties prefer the exchange to alternative courses of action. These conditions—costly but winnable interstate war—are historically rare, and the cost of such wars can rise beyond the population’s willingness to sacrifice. At this point, the population prefers to avoid war rather than fight it and may prefer an alternative institution to the state if that institution can prevent war and reduce the level of extraction. Thus the modern centralized state is self-undermining rather than self-enforcing. A final section addresses alternative explanations for state formation.

Postmodern Poe

2018 ◽  
pp. 717-734
Author(s):  
Jeffrey Andrew Weinstock
Keyword(s):  
Jacques Derrida ◽  
Final Section ◽  
Jacques Lacan ◽  
The Self ◽  
Contemporary Culture

This chapter addresses Edgar Allan Poe’s relation to postmodernism in three parts. It first considers the postmodern elements of Poe’s writing with an emphasis on hoaxes, metafictional self-referentiality, fragmentation, and an overall postmodern suspicion of metanarratives. Next it offers an overview of how Poe’s fiction has been used by poststructuralist theorists—notably, Jacques Lacan, Jacques Derrida, and Barbara Johnson—as well as critics including Dennis Pahl, Michael J. S. Williams, J. Gerald Kennedy, and Louis A. Renza, to illustrate poststructuralist claims about the nature of the self and language. Finally, it explores how the postmodern elements present in Poe’s fiction make him attractive to modern sensibilities. This final section considers the commodification not just of Poe’s writing but of Poe himself—how his biography and image themselves become postmodern narratives available for appropriation and exploitation in the contemporary culture of the Gothic.

scholarly journals Kantian Ethics and the Animal Turn. On the Contemporary Defence of Kant’s Indirect Duty View

Animals ◽  
2021 ◽  
Vol 11 (2) ◽  
pp. 512
Author(s):  
Samuel Camenzind
Keyword(s):  
Animal Rights ◽  
Ethical Framework ◽  
Arthur Schopenhauer ◽  
Kantian Ethics ◽  
Turn On ◽  
Conceptual Clarity ◽  
Moral Relationship ◽  
Human Animal ◽  
Kant's Ethics ◽  
Animal Question

Criticism of Kant’s position on our moral relationship with animals dates back to the work of Arthur Schopenhauer and Leonard Nelson, but historically Kantian scholars have shown limited interest in the human-animal relationship as such. This situation changed in the mid-1990s with the arrival of several publications arguing for the direct moral considerability of animals within the Kantian ethical framework. Against this, another contemporary Kantian approach has continued to defend Kant’s indirect duty view. In this approach it is argued, first, that it is impossible to establish direct duties to animals, and second, that this is also unnecessary because the Kantian notion that we have indirect duties to animals has far-reaching practical consequences and is to that extent adequate. This paper explores the argument of the far-reaching duties regarding animals in Kant’s ethics and seeks to show that Kantians underestimate essential differences between Kant and his rivals today (i.e., proponents of animal rights and utilitarians) on a practical and fundamental level. It also argues that Kant’s indirect duty view has not been defended convincingly: the defence tends to neglect theory-immanent problems in Kant’s ethics connected with unfounded value assumptions and unconvincing arguments for the denial of animals’ moral status. However, it is suggested that although the human-animal relationship was not a central concern of Kant’s, examination of the animal question within the framework of Kant’s ethics helps us to develop conceptual clarity about his duty concept and the limitations of the reciprocity argument.

scholarly journals Is there Such a Thing as a Good Profit? Taking Conventional Ethics Seriously

Philosophia ◽  
2021 ◽  
Author(s):  
Marja K. Svanberg ◽  
Carl F. C. Svanberg
Keyword(s):  
Business Ethics ◽  
Christian Ethics ◽  
Moral Justification ◽  
Profit Motive ◽  
Kantian Ethics ◽  
Ethical Theories ◽  
Self Interest ◽  
The Relationship

AbstractThis paper will show that if we take conventional ethics seriously, then there is no moral justification for business profits. To show this, we explore three conventional ethical theories, namely Christian ethics, Kantian ethics and Utilitarian ethics. Since they essentially reject self-interest, they also reject the essence of business: the profit motive. To illustrate the relationship, we will concretize how the anti-egoist perspective expresses itself in business and business ethics. In business, we look at what many businesses regard as proof of their virtue. In business ethics, we look at what many business ethicists say about the relationship between morality and self-interest and, thus, the profit motive. Ultimately, we will argue that conventional ethics can, at most, only justify the means of business (i.e., aspects of running a business), but not the end of business (i.e., profits).

Levels and types of breaking the maxims: A neo-Gricean account of humor

2015 ◽  
Vol 12 (2) ◽  
Author(s):  
Attila L. Nemesi
Keyword(s):  
Conceptual Framework ◽  
The Self ◽  
Social Psychological ◽  
Cooperative Principle ◽  
Pragmatic Theory ◽  
Self Interest ◽  
Constant Tension

AbstractOn the basis of examples drawn from seven classic Hungarian film comedies, I argue in this article that the place of humor within the Gricean–Leechian model needs to be revisited and extended towards social psychological pragmatics to account for a wider range of humorous material. Scrutinizing the relevant controversial details of Grice’s conceptual framework, my concern is to find a practical way of fitting the various forms of humor into an adequate (and not an idealistic) pragmatic theory. I propose to differentiate between two levels and five types of breaking the maxims, introducing the Self-interest Principle (SiP) supposed to be in constant tension with, and as rational as, Grice’s Cooperative Principle. Politeness and self-presentational phenomena are subsumed under the operation of the SiP which embraces and coordinates the speaker’s own personal and interpersonal purposes.

Sex Differences in Reward Allocation

1988 ◽  
Vol 67 (3) ◽  
pp. 981-982
Author(s):  
Kerry C. Martin ◽  
Jay Hewitt
Keyword(s):  
Sex Differences ◽  
Work Groups ◽  
The Self ◽  
The Other ◽  
Men And Women ◽  
High Productivity ◽  
Self Interest ◽  
Reward Allocation

Men and women were presented descriptions of two dyadic work groups. In both groups, one member of the dyad did approximately two-thirds of the work. For one of the groups, subjects were asked to imagine that they were the worker of high productivity while for the other group subjects were asked to imagine that they were impartial observers. Subjects were asked to divide the rewards among the two workers for both groups. Men and women did not differ in allocation of reward when acting as impartial observers. When subjects imagined themselves as the worker of high productivity, men gave themselves a greater share of the reward than did women. It was concluded that the results were consistent with the self-interest explanation of sex differences in allocation of reward.

What the Climber Saw: Strauss's Alpensinfonie and the Romantic Tradition of Nature Representation

2021 ◽  
pp. 1-31
Author(s):  
David Larkin
Keyword(s):  
Nineteenth Century ◽  
Final Section ◽  
Emotional Reactions ◽  
Tone Poem ◽  
Peak Response ◽  
Landscape Features ◽  
Musical Compositions ◽  
The Sublime ◽  
Romantic Era ◽  
The Relationship

Initially criticized for its naïve representation of landscape features, Strauss's Alpensinfonie (1915) has in recent years been reinterpreted by scholars as a deliberate challenge to metaphysics, a late outgrowth of the composer's fascination with Nietzsche. As a consequence, the relationship between Strauss's tone poem and earlier artworks remains underexplored. Strauss in fact relied heavily on long-established tropes of representing mountain scenes, and when this work is situated against a backdrop of similarly themed Romantic paintings, literature, travelogues and musical compositions, many points of resemblance emerge. In this article, I focus on how human responses to mountains are portrayed within artworks. Romantic-era reactions were by no means univocal: mountains elicited overtly religious exhalations, atheistic refutations of all supernatural connections, pantheistic nature-worship, and also artworks which engaged with nature purely in an immanent fashion. Strauss uses a range of strategies to distinguish the climber from the changing scenery he traverses. The ascent in the first half of Eine Alpensinfonie focuses on a virtuoso rendition of landscape in sound, interleaved with suggestions as to the emotional reactions of the protagonist. This immanent perspective on nature would accord well with Strauss's declared atheism. In the climber's response to the sublime experience of the peak, however, I argue that there are marked similarities to the pantheistic divinization of nature such as was espoused by the likes of Goethe, whom Strauss admired enormously. And while Strauss's was an avowedly godless perspective, I will argue in the final section of the article that he casts the climber's post-peak response to the sublime encounter in a parareligious light that again has romantic precedents. There are intimations of romantic transcendence in the latter part of the work, even if these evaporate as the tone poem, and the entire nineteenth-century German instrumental tradition it concludes, fades away into silence.

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