Jake Wojtowicz

In this paper, I argue that we face a challenge in understanding the relationship between the ‘value-oriented’ and ‘other-oriented’ dimensions of shame. On the one hand, an emphasis on shame's value-oriented dimension leads naturally to ‘The Self-Evaluation View’, an account which faces a challenge in explaining shame's other-oriented dimension. This is liable to push us towards ‘The Social Evaluation View’. However The Social Evaluation View faces the opposite challenge of convincingly accommodating shame's ‘value-oriented’ dimension. After rejecting one attempt to chart a middle course between these extremes, I argue that progress can be made if we reject the widespread assumption that the other-oriented dimension of shame is best understood primarily terms of our concern with the way we appear to others. Instead, I outline an account which treats shame as manifesting our desire primarily for interpersonal connection and which elucidates the property of shamefulness in terms of merited avoidance.

How can we rationally make peace with our past moral failings, while committing to avoid similar mistakes in the future? Is it because we cannot do anything about the past, while the future is still open? Or is it that regret for our past mistakes is psychologically harmful, and we need to forgive ourselves in order to be able to move on? Or is it because moral mistakes enable our moral growth? I argue that these and other answers do not properly resolve the problem of temporal asymmetry in our attitudes toward moral imperfection, and I defend an alternative response, centered on our personal attachments and our biographical identity.

I take a close look at Bernard Williams’s paper "Moral Luck," which put this notion on the philosophical agenda. Williams’s focal example is the painter Paul Gauguin. According to Williams, Gauguin’s morally dubious decision to desert his family so as to pursue an artistic career can be redeemed only by his partially fortuitous success as a painter. This is shown by the consideration that a successful Gauguin would not be able to regret his decision, whereas failure would have prompted regret. I suggest that the best way to understand this claim is to see Gauguin’s decision to become an artist as a constitutive decision, which launches what for him proved to be a defining project. One cannot coherently regret the realization of such a project or the decision that gave rise to it because that would amount to wishing to be someone else: conditions of personal identity set the limits on the counterfactuals about ourselves that we can intelligibly entertain. However, not being able to regret the constitutive elements of one’s life is not the same as approving of these elements. So I disagree with Williams’s ultimate conclusion that the inability to regret a decision signals some justification for it, no matter how attenuated.