Anthony Rudd

This paper responds to Dan Hutto’s paper, ‘Narrative Self-Shaping: a Modest Proposal’. Hutto there attacks the “strong” narrativism defended in my recent book, ‘Self, Value and Narrative’ and in recent work by Marya Schechtman. I rebut Hutto’s argument that non-narrative forms of evaluative self-shaping can plausibly be conceived, and defend the notion of implicit narrative against his criticisms. I conclude by briefly indicating some difficulties that arise for the “modest” form of narrativism that Hutto defends

Merleau-Ponty’s writings on the philosophy of painting, though widely influential and much discussed, remain enigmatic. In this paper I compare his views on painting with those of his older contemporary, Jacques Maritain, who also holds that painting can give us a non-conceptual insight into deep truths about things that are inaccessible to discursive thought. I argue that some ideas that are obscure and undeveloped in Merleau-Ponty are developed more clearly and fully in Maritain. Even where there are significant differences between them, these are not as great as it might at first seem. This comparison can help us to see the ways in which both philosophers’ theories of art are important for understanding their philosophies as a whole. Furthermore, the views they hold in common can continue to suggest a plausible and fruitful way to think about art today.

This chapter examines Soren Kierkegaard's relation with Ludwig Wittgenstein and the Wittgenstein philosophical tradition, explaining that Wittgenstein had read a good deal of Kierkegaard's works, admired them, and even called his predecessor the most profound thinker of the nineteenth century. It also mentions that Wittgenstein made explicit references to Kierkegaard in his notebooks, diaries, and letters. The chapter furthermore discusses the influence of Kierkegaard's The Concept of Anxiety, Philosophical Fragments, and The Sickness Unto Death on the works of Wittgenstein.

It is often argued that the existence of qualia -- private mental objects -- shows that physicalism is false. In this paper, I argue that to think in terms of qualia is a misleading way to develop what is in itself a valid intuition about the inability of physicalism to do justice to our conscious experience. I consider arguments by Dennett and Wittgenstein which indicate what is wrong with the notion of qualia, but which by so doing, help us to locate the real problem for physicalism. This is not that there may be mental as well as physical objects of which we are aware, but that the very notion of awareness is itself resistant to physicalist treatment. In the concluding sections, I draw on Wittgenstein's positive account of sensations, to suggest a way in which the apparent chasm separating objective and subjective viewpoints might be bridged in a non-reductive fashion

This book contains a vigorous argument, constructed with the help of Kierkegaard, that the Kantian ideal of autonomy in ethics is misplaced, and that the most adequate forms of the ethical life see ethics as requiring a religious foundation. The ideal of an ethic that is grounded in "pure, impartial reason" is a chimera; no justification for ethical living can be given that does not see ethical knowledge as stemming from a "committed" or "situated" perspective that eschews the disengaged "view from nowhere." The ideal of disengagement, when universalized, produces skepticism in epistemology and amoralism in ethics. Since this ideal is itself a type of ethical stance, Rudd agrees with Kierkegaard that it cannot be "objectively" refuted, but can and must be rejected. In exploring Kierkegaard’s epistemology, Rudd correctly sees that this Kierkegaardian emphasis on "subjectivity" as necessary for knowledge by no means implies any kind of relativism or subjectivism about truth.

In this essay I argue that the traditional mind-body problem, which seems intractable in its own terms, could be helpfully reconfigured by drawing on insights from the Phenomenological tradition concerning the “body-subject” or “lived body.” Rather than attempting to explain how consciousness relates to the body as understood by the natural sciences, the Phenomenologists concentrate on elucidating the first-person sense that we have of our own bodies in ordinary, prescientific existence. After surveying the traditional mind-body problem in section 1, I introduce the Phenomenological account of embodied subjectivity in section 2. In the remainder of the essay I discuss two important issues raised by this account. First, in section 3, I consider how we can relate our everyday sense of ourselves as embodied subjects to the scientific understanding of the human body—what we might call the “body-body problem.” I argue that, in any case, the latter understanding cannot coherently be supposed to undermine or debunk the former. Secondly, in section 4, I consider whether the Phenomenological stress on the bodily nature of subjectivity allows any room for the notion of disembodied existence.

The question of the value of painting—why paintings should matter to us—has been addressed by a number of Phenomenological philosophers. In this paper, I critically review recent discussions of this topic by Simon Crowell and Paul Crowther—while also looking back to work by Merleau-Ponty and Michel Henry. All the views I discuss claim that painting is important because it can make manifest certain philosophically important truths. While sympathetic to this approach, I discuss various problems with it. Firstly, are these truths verbally explicable, or only communicable through the artwork itself? Secondly, if its truthfulness is the reason why we value painting, can this criterion track our intuitive judgements about relative artistic merit? Thirdly, can the truthfulness of painting be a reason for valuing it if that truth is divorced from its traditional association with Beauty and Goodness? I suggest ways in which the first and second problems could in principle be solved, but argue in response to the third that truth must indeed be seen in the context of other values if it is to explain why painting matters.

This thoughtful book argues that skepticism -- the view that reliable knowledge is beyond our grasp -- is unavoidable unless knowledge is thought of not as merely an intellectual matter but as crucial to practical activity and emotional life. Author Anthony Rudd ties this idea to the work of Wittgenstein and Heidegger, exploring important similarities between the former's reminders of the "expressive" character of human experience and the latter's account of ways to experience the physical world "expressively."

Stanley Cavell has suggested that the deepest roots of skepticism lie in a sense of alienation between the subject and the world, and this has led him to reassess the philosophical importance of the Romantic project of “re-enchanting” the world. One way to pursue this project is by starting from Kant’s reflections on the sublime. I consider Julian Young’s recent discussion of this topic and the Heideggeran pantheism to which it leads him. I conclude that, while there is much insight in Young’s reflections, there are crucial weaknesses in his position that point towards the plausibility of re-configuring it in more theistic and / or Platonic terms.

Many philosophers now argue that the doubts of the philosophical sceptic are unnatural ones, in that they are not forced on us by considerations that any reasonable person would have to accept as compelling but only arise if one has already accepted certain controversial theoretical commitments. In this article I defend the naturalness of philosophical scepticism against such criticisms. After defining "global ontological scepticism," I examine the work of a number of anti-sceptical philosophers—Michael Huemer, Michael Williams, and John McDowell. Although McDowell does move the debate to a deeper level by interpreting scepticism as a challenge to the very possibility of the mind's apprehending reality by being in a rational rather than a merely causal relation to it, none of them succeeds in showing that global ontological scepticism is, in the relevant sense, unnatural. This is not to say that the sceptic is correct; simply that it has not been shown that we can reasonably dismiss the sceptical questions and thereby evade the need to engage seriously with the sceptical arguments.

This paper defends and develops an argument against epiphenomenalism, broadly construed. I argue first for a definition of epiphenomenalism which includes ‘non-reductive’ materialism as well as classical dualistic epiphenomenalism. I then present an argument that if epiphenomenalism were true it would be impossible to know about or even refer to our conscious states -- and therefore impossible even to formulate epiphenomenalism. David Chalmers has defended epiphenomenalism against such arguments; I consider this defence and attempt to show that it fails. I conclude that an adequate account of mental causation requires us to abandon the principle of the causal closure of the physical, and attempt to rebut charges that it would be ‘unscientific’ to do so

This paper starts from the debate between proponents of a neo-Lockean psychological continuity view of personal identity, and defenders of the idea that we are simple mental substances. Each party has valid criticisms of the other; the impasse in the debate is traced to the Lockean assumption that substance is only externally related to its attributes. This suggests the possibility that we could develop a better account of mental substance if we thought of it as having an internal relation to its states. I suggest that we may be able to do this by relying on the notion of expression. In developing this idea I draw heavily on aspects of Wittgenstein's philosophical psychology, while also developing and criticizing Strawson's account of persons and recent work by Lynne Baker. I conclude by arguing that mental substance, understood in this way, can only be grasped in narrative terms; substantialist and narrative accounts of personal identity, far from being opposed, are mutually supporting and require one another to be coherent