This article is an edited version of the response paper offered at the conclusion of the symposium, Modern Sensibilities. It ties together themes from the symposium papers, as well as ideas prompted by Mieke Bal’s exhibition, Emma & Edvard: Love in the Time of Loneliness, and her accompanying book, Emma and Edvard Looking Sideways: Loneliness and the Cinematic. It focuses on the anachronistic entanglements among Flaubert’s “Emma,” Munch’s motifs, Mieke Bal and Michelle Williams Gamaker’s Madame B, the Munch (...) Museum’s architecture and exhibition scenography, and the exhibition viewer. (shrink)

This article wants to answer three questions: first, why is not only sensibility but visibility important for modern democracy? Second, why is art or aesthetic experience important for both democracy and visibility? And third, how is it possible that aesthetic experience generates effects that conduce to democracy? Answering these questions aims at highlighting an inner connection between democracy, feelings and aesthetics. For a democratic community, on the one hand, cannot exclude feelings from political discourse, but, on the other hand, (...) cannot accept them in their immediate and absolute form. Feelings need ‘transformation’, and the best popular medium for this is aesthetic experience. (shrink)

Achieving judgment -- In sensible judgment -- Sentencing -- Dissenting -- Making judgments -- Judging as right -- Living on the premises -- Inferring, judging, arguing -- Questioning critique -- Sting of reason -- Critique's mystique -- Enigma absolute -- Moving establishment -- Being nomadic -- Chasing after modernity -- When to forget.

SummaryThis article focuses on the analysis of sensibility in the works of three major late eighteenth-century philosophers: Smith, Cabanis and the young Wilhelm von Humboldt. It analyses to what extent Smith's concept of sympathy influenced Cabanis in France and Humboldt in Germany. It argues that modern anthropology, based on a specific theory of sensibility, assumes a strong connection between knowledge acquisition and life in society. This article reveals the strong links between the three authors which were made possible precisely (...) because of their common philosophical background. It proves, for the first time, that Humboldt had access to Condillac's ideas before 1798, since in an early work on the state, the former makes numerous borrowings from speeches Cabanis wrote for Mirabeau, which were in turn strongly influenced by Condillac. (shrink)

Animistic religious thought is extremely widespread, and can be found even in religions practiced by “modern” societies. But it is commonly thought to bear the hallmarks of “primitive” thinking processes, which in the anthropological tradition have typically been taken to involve various cognitive errors. Here I am going to argue that this misunderstands and misrepresents the content of such thinking, which is by no means as unsophisticated as it is usually considered to be. I shall be using Robin Horton’s (...) interesting proposals as my stalking-horse. (shrink)

This article analyzes how scientific thinking evolved in Argentina during the 1820s and 1830s. I will focus on liberals’ association of science with the emergence of a new male sensibility that feminized the role of men in society. This gendered scientific culture explains how liberals clashed in the 1830s with the policies of the governor of Buenos Aires, Juan Manuel de Rosas, whose hyper masculinist model based on the authority of the father was perceived not only as anti-civilization, but also (...) as anti-science. This association of gender and science helps us to explain how the introduction of Darwinian ideas that seemed to support a more masculinist representation of evolution, now ruled by laws of survival and competition, was perceived as a contradiction of past ideas by the 1870s. (shrink)

Despite Kant’s lasting influence on philosophical accounts of moral motivation, many details of his own position remain elusive. In the Critique of Practical Reason, for example, Kant argues that our recognition of the moral law’s authority must elicit both painful and pleasurable feelings in us. On reflection, however, it is unclear how these effects could motivate us to act from duty. As a result, Kant’s theory of moral sensibility comes under a skeptical threat: the possibility of a morally motivating feeling (...) seems incoherent. My aim in this paper is to reconstruct Kant’s theory in a way that overcomes this threat. By way of conclusion, I show how my reconstruction brings a new perspective to a long-standing dispute over intellectualist and affectivist views of moral motivation. (shrink)

Scholars disagree about whether and how Kant manages to avoid dualistic outcomes in the relation between freedom and sensibility within the moral agent. If he does not – if he portrays a moral agent who must judge and act without taking emotions, sentiments, and passions into account – then authors such as Blackburn can rightly argue that Kantian ethics loses sight of the concrete individual, whose sensibility has a fundamental role, taking part in the definition of her specific identity. I (...) argue that this portrait comes from a disputable and incomplete reading of Kant’s works. There is no dualistic outcome in the relation between freedom and sensibility in Kant. My aim is to show that there is a bridge between the rational and the sensible elements within the Kantian agent and that it can be reconstructed by analysing Kant’s works on ethics, aesthetics, and anthropology. Specifically, those elements must be thought of as in accordance, not in opposition, because sensibility is necessary for Kant’s ethics to be effective, both for the agent’s awareness of the moral law and for the agent’s motivation. (shrink)

Management and organization researchers are being called to conduct research that is more caring, yet the concept of care and how to practice it within the profession is undertheorized. Adopting a feminist epistemology and methodology, we develop the concept of care by weaving the personal, ethical, and political into the research process. First, we reflect critically on how aspects of care—attentiveness, responsibility, competence, and responsiveness (Tronto, Moral boundaries: a political argument for an ethic of care, Routledge, 1993; Tronto, Caring democracy: (...) markets, equality, and justice, New York University Press, 2013)—unfolded in our personal research experiences, and secondly, we conduct a review of articles published in management and organization studies and analyse expressed or concealed conceptions of care in scholars’ accounts of research purpose and ethics. We find three ethical sensibilities at the heart of enacting care: encountering the ‘other’, interpreting roles and responsibilities, and deliberating needs and resources. We contribute to a feminist research ethics by highlighting issues related to care that are concealed in dominant ethos guiding management and organization research. Further, we develop methodological insights for implementing an ethic of care as an alternative ethical standpoint in business research ethics. Finally, we provide suggestions for how to embed more care within research ethics practices in academic institutions. (shrink)

Un jeu subtil associant les dimensions visuelles, culturelles ou sociales s’établit entre l’utilisateur de la règle et son destinataire. L’étude des différentes méthodes employées met en lumière cette dynamique du discours juridique. Cette nécessité de spécifier les rôles, de montrer les visages multiples a pour vocation de rendre sensible et conscient le locuteur au pluralisme organisé dans le discours juridique. C’est dans la multiplicité que le discours peut s’avérer fragile, susceptible de rupture dans la compréhension de sens.

To claim that “humans have become a geological agent,” to worry that “humans are interrupting, refashioning, and accelerating natural processes” is to reinforce metaphysical divides—humans and nature, the cultural and the natural. It is furthermore to reinforce all the narratives from which these divides are animated: modernity, colonialization, enlightenment with their attendant discourses of progress, control, and purity. In its place I advocate Anthropocenean sensibilities. Sensibilities in which our attentiveness to influences and exchanges becomes heightened, where we learn (...) to live in the midst of change, with a new responsiveness to uncertainties that render not-knowing animating rather than paralyzing. (shrink)

While notions of spirituality, spiritual experience and spiritual development seem much neglected in the literature of modern analytical philosophy, such terminology continues to be current in both common usage and religious contexts. This author has previously taken issue with some recent attempts to develop conceptions of spirituality and spiritual experience as substantially independent of religious attachment. Notwithstanding this, the present paper considers whether such a ‘religiously-untethered’ notion of spirituality, spiritual experience or sensibility might yet be sustainable in terms of (...) two key criteria: as a capacity for non-instrumental perspectives on, or interpretations of, the world of ordinary experience; and as a corresponding capacity to identify goals and values that transcend or are not reducible to the meeting of immediate natural or material—either individual or social—needs. (shrink)

IN THE FIRST CHAPTER OF HIS BOOK Theories of Cognition in the Later Middle Ages, Robert Pasnau takes a position in a longstanding debate concerning the metaphysical status and the epistemological role of sensible forms in Aquinas’s theory of cognition. His main claim is that Aquinas was a materialist about sensation and developed “a theory of the sort that a modern materialist could love.”.

In lieu of an abstract, here is a brief excerpt of the content:Practical Wisdom and Moral Imagination in Sense and SensibilityKaren StohrThere is no single virtue more important to Aristotle's ethical theory than the intellectual virtue of phronesis, or practical wisdom. Yet for all its importance, it is not easy to make sense of this virtue, either in Aristotle's own writings or in virtue ethics more generally. Insofar as Aristotle defines it, he does so opaquely, saying it is "a state (...) grasping the truth, involving reason, concerned with action about things that are good or bad for a human being." 1Practical wisdom is a form of knowledge aimed fundamentally at acting well. It requires both a general understanding of what is worthwhile in human life and the ability to act in ways that reflect that understanding. 2 My goal in this paper is to explore the latter aspect of practical wisdom in its application to ordinary social behavior. The circumstances that will interest me here are often thought to be the domain of manners or decorum, rather than morals proper. Although no one who takes Hume seriously can deny the moral significance of manners, the relationship between one's inner state of character and how that character is expressed in seemingly mundane behavior has received insufficient attention from moral philosophers. 3 In such a task, there can be few better places to begin than with Jane Austen, whose novels reveal the intricacies of ordinary moral behavior with extraordinary acumen.I shall use Austen's Sense and Sensibility to examine the skill associated with knowing how to behave rightly in the sense we associate with propriety or decorum. This skill is essential to pleasant social life, and hence, on the Aristotelian view, to human flourishing. Yet it is often lacking, even among those who have sound moral principles and good hearts. Well-meaning people frequently say or do what is inappropriate. [End Page 378] Consider, for instance, how common it is for kindly disposed people to say to bereaved friends things like, "it's all for the best" or "be thankful for your other healthy children" or "you're young, you'll marry again." The intricacies of offering sympathy are hard to get right, and otherwise good people can unwittingly leave behind disasters in their wakes.The skill of acting well in complex social situations has interesting links to the capacity for moral imagination. Engaging in imaginative identification with others is essential to empathy. 4 Without suggesting that empathy is at the root of all fluid social interactions, I shall argue that certain characteristic failures to act well in that sphere are imaginative failures. In other words, insofar as the exercise of practical wisdom is present in the realm of manners, it requires moral imagination.Failures of moral imagination, however, can take different forms and have different social effects. I shall use two of Austen's characters in Sense and Sensibility—Marianne Dashwood and Mrs. Jennings—to illustrate different ways in which inadequate imaginative capacity can impede the exercise of practical wisdom. The contrast I shall draw is with Elinor Dashwood, to whom I ascribe practical wisdom in full. 5 This contrast is especially interesting because it is not always very sharp: all three characters have fundamentally good moral principles and warm hearts. Yet unlike Elinor, Mrs. Jennings and Marianne routinely fail to act well, and in characteristic ways. Despite the differences in their characters, they have in common an inability to use moral imagination appropriately. The moral errors of Marianne and Mrs. Jennings occur in relatively insignificant circumstances, but the errors themselves point to something deeper about how the virtue of practical wisdom functions in ordinary moral practice.In exploring the link between moral imagination and moral practice, it will help to remember Aristotle's emphasis on the reciprocity between practical wisdom and the moral virtues. Aristotle held that that practical wisdom is necessary for the exercise of the moral virtues and that conversely, the moral virtues are necessary for the exercise of practical wisdom. 6 The justification for the first of these two claims is clearest in the context of Aristotle's doctrine of the mean. Since what counts as a virtuous action depends on features... (shrink)

This paper deals with what I take to be one woman’s literary response to a philosophical problem. The woman is Jane Austen, the problem is the rationality of Hume’s ‘sensible knave’, and Austen’s response is to deepen the problem. Despite his enthusiasm for virtue, Hume reluctantly concedes in the EPM that injustice can be a rational strategy for ‘sensible knaves’, intelligent but selfish agents who feel no aversion towards thoughts of villainy or baseness. Austen agrees, but adds that ABSENT CONSIDERATIONS (...) OF A FUTURE STATE, other vices besides injustice can be rationally indulged with tolerable prospects of worldly happiness. Austen’s creation Mr Elliot in Persuasion is just such an agent – sensible and knavish but not technically ‘unjust’. Despite and partly because of his vices – ingratitude, avarice and duplicity – he manages to be both successful and reasonably happy. There are plenty of other reasonably happy knaves in Jane Austen, some of whom are not particularly sensible. This is not to say that either Austen or Hume is in favor of knavery It is just that they both think that only those with the right sensibility can be argued out of it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mensonge MélodramatiqueTriangular Desire in Sense and SensibilityMatthew Taylor (bio)The Passions are perfectly unknown to her; she rejects even a speaking acquaintance with that stormy Sisterhood; even to the Feelings she vouchsafes no more than an occasional graceful but distant recognition; too frequent converse with them would ruffle the smooth elegance of her progress. Her business is not half so much with the human heart as with the human (...) eyes, mouth, hands and feet; what sees keenly, speaks aptly, moves flexibly, it suits her to study, but what throbs fast and full, though hidden, what the blood rushes through, what is the unseen seat of Life and the sentient target of Death—this Miss Austen ignores.—Charlotte Brontë1"Oh! mama, how spiritless, how tame was Edward's manner in reading to us last night! I felt for my sister most severely. Yet she bore it with so much composure, she seemed scarcely to notice it. I could hardly keep my seat. To hear those beautiful lines which have frequently almost driven me wild, pronounced with such impenetrable calmness, such dreadful indifference!" [End Page 189]—Marianne in Sense and Sensibility2Charlotte Brontë had probably not read Sense and Sensibility (SS) before making her famous indictment of Jane Austen above, otherwise she would have found herself prophetically, and mercilessly, parodied through the character of Marianne Dashwood.3 Marianne's critique of Edward above matches Brontë's denunciation with uncanny precision. Marianne, the "stormy sister" of the novel, carries on in the same vein through most of it. What she proclaims as passionate sensibility comes off instead as, at varying times, snooty, self-indulgent, exhibitionist, and histrionic. Marianne even assumes the role of Brontë's "sentient target of Death" not long after she is cruelly jilted by Willoughby, when she wanders listlessly outdoors in the damp. It is not unlike Jane Eyre's numb wanderings when she flees Thornfield and Rochester. This "acting out" by Marianne comes close to killing her.Marianne's romantic "sensibility" contrasts with her sister Elinor's "sense." Yet, of course, readers of SS will come to know that Elinor can feel just as deeply and passionately as Marianne; she just has to conceal it. Elinor can suffer as much, too, only without the luxury of wearing it on dew-drenched sleeves. Thus, we have the thematic frame of the novel, suggested in the title. As Austen's first published novel, SS is brilliant, mature, and confident. One weakness seems to be a Brontëan one, the melodramatic coincidence in the plot that connects Colonel Brandon's secret life of compassion to Willoughby's secret sins. Otherwise, SS sits very well alongside Austen's other five masterpieces.4From the perspective of René Girard's mimetic theory, mimesis comes out with a bang in SS.5 Not only is Marianne a principal character in Austen's first canonical novel, but her romantic sensibility is thematized in the title.6 "Sensibility" for Marianne is feeling, unmediated desire expressed in unrestrained language and impulsive action. Yet Marianne's actions are anything but unmediated, and they are compulsive rather than impulsive. Even when she finally overcomes the worst symptoms under the influence of Elinor, and even though we do develop genuine sympathy for her, Marianne never comes to any deep self-knowledge. Marianne perfectly encapsulates Girard's mensonge romantique, or "romantic lie."Implying that Marianne is a liar is not a comfortable stance, and not just because we may be fond of her, but because she is open and sincere—to a fault. Yet just because Marianne is honest about her feelings, it does not follow that she is accurate about them. In fact, this is often a problem in interpreting Marianne: Her self-characterization is accepted uncritically.7 From that basis, she is framed, somewhat understandably, as representing one side of a moral debate about sensibility.8 Austen is seen as being for it, or against it, or working out some sort of accommodation. Austen is further assessed as having done [End Page 190] so well, or badly, or indifferently, as the case may be. Then Austen is seen as conforming to cultural standards, or challenging... (shrink)

Selon un récit aujourd'hui communément partagé, l'art depuis les années 1960 aurait définitivement abandonné le monde sensible pour se réfugier dans l'idée ou le concept, remisant ainsi l'expérience esthétique du côté des antiquités philosophiques. Dans ce livre, Charles Bobant tente de mettre au jour l'inactualité du sensible, c'est-à-dire la pertinence de la sensibilité pour rendre compte de notre commerce avec les œuvres d'art d'hier comme d'aujourd'hui."--Page 4 of cover.