Amy Olberding

The early Confucians recognize that the exchanges and experiences of quotidian life profoundly shape moral attitudes, moral self-understanding, and our prospects for robust moral community. Confucian etiquette aims to provide a form of moral training that can render learners equal to the moral work of ordinary life, inculcating appropriate cognitive-emotional dispositions, as well as honing social perception and bodily expression. In both their astute attention to prosaic behavior and the techniques they suggest for managing it, I argue, the Confucians afford a model useful for appropriation in contemporary efforts to address small but potent moral harms such as microinequities

One of the central pedagogical strategies employed in the "Analects" consists in the suggestion of models worthy of emulation. The text's most robust models, the dramatic personae of the text, emerge as colorful figures with distinctive personal styles of action and behavior. This is especially so in the case of Confucius himself. In this essay, two particularly notable features of Confucius' style are considered. The first, what is termed "everyday" style, consists in Confucius' unusual command of conventional norms in ordinary circumstances; the second, termed "deviant" style, consists in Confucius' occasional and sometimes puzzling departures from conventional norms. The combind effect of these two aspects of Confucius' personal style is shown to yield a productive pedagogical tension for the moral learner who would emulate, but cannot imitate, Confucius.

In this essay, I draw Karen Stohr’s work on the moral-aesthetic elements of hospitality into conversation with classical Confucianism. While the early Confucians would not deny the other-regarding elements of hospitality Stohr emphasizes, they also notably highlight the ways exercises in taste and skillful aesthetic activity can work on and for the agent herself, providing a sensibility that can guard domestic aesthetic activity against problematic forms of self-sacrifice and alienated labor that color contemporary gendered representations of the home and its activity. The most robustly virtuous and indeed rewarding versions of hospitality and domestic aesthetic activity, I argue, will link self to environment and work, using both as mechanisms that foster wider values the self prizes and endorses.

The Analects appears to offer two bodies of testimony regarding the felt, experiential qualities of leading a life of virtue. In its ostensible record of Confucius’ more abstract and reflective claims, the text appears to suggest that virtue has considerable power to afford joy and insulate from sorrow. In the text’s inclusion of Confucius’ less studied and apparently more spontaneous remarks, however, he appears sometimes to complain of the life he leads, to feel its sorrows, and to possess some despair. Where we attend to both of these elements of the text, a tension emerges. In this essay, I consider how Confucius’ complaints appear to complicate any clean conclusion that Confucius wins a good life, particularly where we attend to important pre-theoretical sensibilities regarding what a “good life” ought to include and how it ought to feel for the one who leads it.

In his remedy for grief, Seneca rehearses familiar Stoic arguments regarding the need to reconcile oneself to Fortune yet is not content with the efficacy of these strategies. Seneca’s hortatory rhetoric and the models he recommends for appropriation emphasize not the exercise of reason but the need for courageous self-command as a fitting strategy for the repudiation of sorrow. In a departure from Stoic orthodoxy, Seneca concedes that loss constitutes an injury and locates well-being in a vulnerability to sorrow valorized by heroic endurance.

Etiquette writer Judith Martin is frequently faced with “etiquette skeptics,” interlocutors who protest not simply that this or that rule of etiquette is problematic but complain that etiquette itself, qua a system of conventional norms for human conduct and communication, is objectionable. While etiquette skeptics come in a variety of forms, one of the most frequent skeptical complaints is that etiquette is artificial.The worries Martin canvasses are frequently also raised in more philosophical work as reasons to doubt the moral significance of etiquette. See, e.g., Sarah Buss, “Appearing Respectful: The Moral Significance of Manners”, Ethics 109.4 : 795–826; Nancy Sherman, “The Look and Feel of Virtue”, in Christopher Gill, ed., Virtue, Norms, and Objectivity: Issues in Ancient and Modern Ethics ; and Karen Stohr, On Manners , especially Chapter 1. “Artificial” typically operates in this context as a catch-all te ..

In this essay, I consider the philosophical purposes served by Seneca’s insistently violent imagery and argue that Seneca appears to provide what I term an “erotica of death.” In the Roman context, a context in which violence and violent death are regular features of popular entertainment, there is a worry that Seneca’s vivid depictions of violent death can only aim at eliciting more of the intoxicating pleasure Romans derived from their spectacles. However, where the spectacle features as a species of death denial, a “pornography” in which death is stripped of its emotive and symbolic content, Seneca provides an “erotica” in which raw physical detail serves to announce and evoke emotive responses to death. He thus works against the Roman taboo on expressing fear and the equation of fear with cowardice in order to court the dismay and disgust necessary as a precondition for a robust therapy for death anxiety.