Jonathan Webber

Character plays a central role in our everyday understanding and evaluation of ourselves and one another. It informs the expectations that ground our plans and projects, our moral responses to other people's behaviour and to opportunities we ourselves face, and our political decisions concerning formal education, criminal punishment, and other aspects of social organisation. These philosophical essays clarify this idea of character, analyse its relation with the findings of experimental psychology, and draw out the implications of this for education and for criminal punishment. They emphasise that character is inherently dynamic, challenging the tendency among personality psychologists and virtue ethicists alike to focus on static snapshots of traits, and they emphasise the close integration of character with the individual's social context. The volume is intended to demonstrate the deep conceptual affinity of moral philosophy and social psychology and the consequent potential for each to benefit from the other.

We should understand the concept of self-legislation that is central to Kant's moral philosophy not in terms of the enactment of statute, but in terms of the way in which judges make law, by setting down and refining precedent through particular judgements. This paper presents a descriptive model of agency based on self-legislation so understood, and argues that we can read Kant's normative ethics as based on this view of agency. It is intended to contribute to contemporary debates in moral psychology and to exegetical discussion of Kant.

The first phase of Sartre’s philosophical publications is marked by an apparent ambivalence towards Husserl’s transcendental turn. Sartre accepts both major aspects of that turn, the phenomenological reduction and the use of transcendental argumentation. Yet his rejection of the transcendental ego that Husserl derives from this transcendental turn overlooks an obvious transcendental argument in favour of it. His books on emotion and imagination, moreover, make only very brief comments about the transcendental constitution of the world of experience. In each case, these appear at the end of the book and can seem to contradict the book’s central analysis. The problem underlying these features of his works of phenomenological psychology is clarified and resolved, however, when Sartre articulates his own transcendental phenomenology and ontology in Being and Nothingness a decade after he first encountered the work of Husserl. This resolution raises a new problem that animates the next phase of his philosophy.

Since it gained currency at the end of the second world war, the term “existentialism” has mostly been associated with a cultural movement that grew out of the wartime intellectual atmosphere of the Left Bank in Paris and spread through fiction and art as much as philosophy. The theoretical and other writings of Jean-Paul Sartre, Simone de Beauvoir, Albert Camus, and Frantz Fanon in the 1940s and 1950s are usually taken as central to this movement, as are the sculptures of Alberto Giacometti, the paintings of Jean Dubuffet, and the plays of Samuel Beckett from this time. Existentialism is frequently viewed, therefore, as an aesthetic movement rooted in certain philosophical thoughts and supplanting surrealism at the centre of European artistic fashion. This is the existentialism of black clothes and jazz clubs, coffee and cigarettes.

Much of the critical praise for the film concerns the first of these aims. Bigelow’s use of at least four film crews for every scene affords the sense of being present in the situation, continuously shifting perspective, alert to possible danger. The relative anonymity of the scenery, clearly somewhere in the Middle East but not clearly anywhere in particular, fosters this uneasy sense of immersion in an unfamiliar scenario where the sources of danger are unpredictable. Protracted periods of silence, punctuated by incidental sounds that often turn out to be irrelevant, increase this tension. The occasional quiet ring of tinnitus imparts a sense of the incessant nature of the soldiers’ anxiety. Much of the negative criticism of the film, on the other hand, concerns the psychology of its central characters. Some veterans of the war in Iraq have claimed that it is a wildly inaccurate portrayal of the attitudes and behaviour of professional soldiers

In the opening lines of ‘Black Orpheus’, written as a preface to an anthology of negritude poetry, Sartre challenges white readers ‘to feel, as I do, the shock of being seen’. Reading this poetry, he thinks, should undermine white people’s presumption of the objectivity of their perspective. Accordingly, the essay itself contradicts two prominent aspects of the philosophy he had so far developed: the idea that poetry could not be politically engaged; and the theory of radical freedom. These changes are ultimately rooted in his realisation, upon reading this poetry, that his previous understanding of prose is mistaken. This has the consequence that his philosophical method, which derives ontological conclusions from prose descriptions of experience, has two important limitations: its premises cannot be drawn solely from his own experience; and French prose might be insufficient for formulating all relevant premises. He therefore revises his method to deploy this poetry as phenomenological grounds for ontological conclusions, which transforms his ontology of human existence to include cultural inheritance as a primary feature. We will see how this reading of negritude poetry exemplifies both the epistemic challenge involved in what he calls ‘the look’ and the use of listening in response to it.

Ought you to cultivate your own virtue? Various philosophers have argued that there is something suspect about directing one's ethical attention towards oneself in this way. These arguments can be divided between those that deem aiming at virtue for its own sake to be narcissistic and those that consider aiming at virtue for the sake of good behaviour to involve a kind of doublethink. Underlying them all is the assumption that epistemic access to one's own character requires an external point of view that is, in principle, available to anyone. If cultivating virtue is concerned with forming one's dispositions as these appear to the external point of view, then these charges of narcissism and doublethink can be brought. However, there is another kind of access to one's own character. Since character is manifest in the practical structure of experience, reflection on that practical structure itself is reflection on one's character. Neither the charge of narcissism nor the charge of doublethink can be brought against this phenomenological cultivation of the practical structure of experience. Although not sufficient alone to provide all the information required for the task, phenomenological reflection is essential to the ethical cultivation of virtue.

This article is a clarification and development of my interpretation of Sartre’s theory of bad faith in response to Ronald Santoni’s sophisticated critique, published in this issue. It begins by clarifying Sartre’s conception of a project and explaining his claim that one project is fundamental, thereby elucidating the idea that bad faith is a fundamental project. This forms the groundwork of my responses to Santoni’s critique of my interpretation, which comprises four arguments: Sartre does not consider us to be ontologically and congenitally disposed to bad faith; Santoni is right that social pressure cannot explain the prevalence of bad faith, but this is a problem with Sartre’s theory rather than a problem for my interpretation of it; Sartre’s conception of seriousness is merely an optional strategy of bad faith; and Sartre is right to deny that bad faith is an inherently cynical project.

In the mid-1940s, Simone de Beauvoir and Jean-Paul Sartre both argued that a person’s preferences and behaviour are ultimately explained by their projects, which they have chosen and can reject. However, they did not agree on the details. Sartre’s theory of ‘radical freedom’ was that projects have no inertia of their own and persist only if they continue to be endorsed. Beauvoir held that projects become gradually sedimented with continued endorsement, increasing in both influence and inertia over time. Sartre’s theory resulted from his basic ontology of being and nothingness, itself arrived at through his method of transcendental phenomenology. Beauvoir’s theory was grounded directly in the phenomenology of lived experience, particularly as articulated in her fictional writings. By the end of the 1940s, Sartre had replaced his original idea of freedom with Beauvoir’s theory of project sedimentation. He was right to do so. Project sedimentation explains what commitment to a project is and how there can be cultural values, neither of which can be explained within the theory of radical freedom. However, the theory of project sedimentation had not been available to Sartre until he revised his philosophical method in response to an anthology of negritude poetry.

Jean-Paul Sartre developed a sophisticated and insightful feminist critique of western society through two plays and two screenplays written between 1944 and 1946 –– Huis clos, Les Jeux sont faits, Typhus, and La Putain respectueuse. In these works, Sartre explores the relations between economic oppression, epistemic injustice, and misogynistic violence, diagnoses their root cause as the patriarchal norms of femininity and masculinity, and ascribes the power of those norms to bad faith and internalized oppression. This social critique, which includes a racial dimension, informs some of his subsequent fictional and philosophical writings. Sartre’s analysis of patriarchy has not been noted in writings about these famous dramatic works, a distortion which seems partly due to those same patriarchal norms.

Schools and universities should equip students with the ability to deal with an unpredictable environment in ways that promote worthwhile and fulfilling lives. The world is rapidly changing and the contours of our ethical values have been shaped by the world we have lived in. Education therefore needs to cultivate in students the propensity to develop and refine ethical values that preserve important insights accrued through experience while responding to novel challenges. Therefore, we should aim to foster the virtue of ethical integrity. This virtue is driven by a concern for ethical accuracy, which motivates and warrants respect for our existing ethical commitments as repositories of previous ethical reasoning, but equally requires recognition of our own fallibility and consideration of other people's reasoning. Ethical integrity thus comprises constancy, fidelity, humility, and receptivity, balanced and integrated by the aim of ethical accuracy. It is a kind of ethical seriousness, though it includes acceptance of some degree of ambivalence. It is an inherently developmental virtue distinct from the unachievable ethical perfection of practical wisdom. It is an Aristotelian virtue, even though Aristotle does not himself name it. The paper closes with an outline of what education for ethical integrity would look like.

Oliver Gloag, Albert Camus: A Very Short Introduction (Oxford: Oxford University Press, 2020), 112pp. ISBN: 9780198792970. £8.99 (paperback). Meryl Altman, Beauvoir in Time (Leiden: Brill, 2020), x + 570pp. ISBN: 9789004431201. €142.00 (hardback); ISBN: 9789004431218 (open-access e-book). Alfred Betschart and Juliane Werner (eds), Sartre and the International Impact of Existentialism (London: Palgrave, 2020), 388pp. ISBN: 978-3-030-38481-4. $129.99 (hardback); ISBN: 9783030384845. $129.99 (paperback); 9783030384821. $99 (e-book). Alfred Betschart, Andreas Urs Sommer and Paul Stephan, Nietzsche und der Französische Existenzialismus (Berlin: De Gruyter, 2022), 300pp., ISBN: 9783110760101. $126.99 (hardback); ISBN: 9783110760163. $126.99 (e-book). Nik Farrell Fox, The Parallel Philosophies of Sartre and Nietzsche: Ethics, Ontology and the Self (London: Bloomsbury, 2022), 255 pp., ISBN: 9781350248168. $143.95 (hardback); ISBN: 9781350248205. $50.35 (paperback); ISBN: 9781350248175. $115.16 (e-book).