Josep E. Corbi

In reply to views that regard expressive actions as lacking a point or as having at most an external, contingent one, Bennett argues that they have a point that is internal insofar as the agent themselves can recognize it as the purpose of their action. This paper investigates what this internal point could be. Bennett argues that the point of expressive actions is to _mark_ some aspects of a situation as significant. I will argue, however, that, in some central cases of expressive action, the idea of marking cannot coherently apprehend their internal point. In such cases —or so I contend— a third party might adequately regard marking as the point of someone else’s action, but the agent themselves could not reflectively endorse it as the point of their own action. It follows that marking cannot be the internal point of those expressive actions insofar as it fails _the reflective endorsement test_. I will finally sketch an alternative view about the point of expressive action in such central cases, one that may pass this test. This alternative approach hinges on the idea of _constitution_; more specifically, I will argue that in some central cases the internal point of expressive action is not marking but constituting.

Moral Projectivism must be able to specify under what conditions a certain inner response counts as a moral response. I argue, however, that moral projectivists cannot coherently do so because they must assume that there are moral properties in the world in order to fix the content of our moral judgements. To show this, I develop a number of arguments against moral dispositionalism, which is, nowadays, the most promising version of moral projectivism. In this context, I call into question both David Lewis’ dispositionalist account of colour and Chistine Korsgaard’s procedural realism.

Relatar lo ocurrido como invención: una introducción a la filosofía de la ficción contemporánea offers to the Spanish reader an excellent opportunity to get in touch with central aspects in the current philosophy of language and their implications for fiction theory. In his book, García-Carpintero carefully presents the fundamental lines of argument for and against the most relevant views and, on this basis, defends his own analysis of the norm of fiction as well as a neo-Fregean theory of referential terms that averts some traditional objections. My review includes, however, two objections concerning García-Carpintero’s norm of fiction, one relative to the forms of awareness that it seems to presuppose, and the other regarding the nature of the interest associated with the imaginative projects that are constitutive of fictional works.

Yago es el mal incondicional\ sus acciones no pueden justificarse y, sin embargo, puede ser defendidas [T1]. Esta es la tesis que defiende Richard Raatzsch en *The Apologetics o f Evil. The Case o f Yago*. Su argumento descansa fundamentalmente en otras dos tesis, a saber: [T2] que no hay motivo alguno que dé cuenta de las acciones de Yago como un todo y [T3] que Yago es s uno de esos que mantienen su corazón atento solo a sí mismos. Trataré de mostrar, sin embargo, que el argumento de Raatzsch en favor de [T1-T3] es inconsistente con su defensa de Yago, por lo que concluiré que Ratzsch no puede mantener coherentemente las tres tesis. Esta conclusión se verá, no obstante, complementada con una propuesta alternativa acerca de la naturaleza del mal incondicional en la que se subraya el papel de las experiencias corporales en la articulación de lo ético.

Quassim Cassam distinguishes between trivial and substantial cases of self-knowledge. At first sight, trivial cases are epistemically distinctive insofar as the agent needn't provide any sort of evidence to ground her claim to knowledge. Substantial cases of self-knowledge such as ‘I know I want to have a second child’ do not seem to bear this distinctive relation to evidence. I will argue, however, that substantial cases of self-knowledge are often epistemically distinctive and, to this end, I will challenge a crucial assumption in the current debate about self-knowledge, namely: if a piece of self-knowledge is based on evidence, it must have been delivered by a detached, theoretical attitude toward oneself (_The Detachment Assumption_). My case against the Detachment Assumption combines a negative and a positive programme. Regarding the negative aspect, I will first present Cassam's case for Inferentialism; second, I will argue that this view about self-knowledge is at odds with the sort of self-improvement that he vindicates in his analysis of epistemic vices and, third, I will conclude that only by allowing for an engaged relation to evidence, can we make sense of that sort of self-improvement. Regarding the positive programme, I will first examine the sensitivity to the music that is specific of a graceful dancer and, on this basis, outline an attitude toward oneself that, despite involving evidence, is not detached or theoretical but engaged, so that it gives rise to a kind of substantial self-knowledge that is both transformative and epistemically distinctive.

Epistemology as Political Epostemology: Knowledge, Wound and Narrative Resumen: El tipo de conocimiento que a menudo se toma como modelo en Conocimiento expropiado es el que nos proporciona la ciencia, vinculado a la idea de información y a los desarrollos tecnológicos; solo emerge otro modelo cuando se analiza la injusticia hermenéutica y otras formas de daño epistémico. Broncano aúna ambos modelos bajo el rótulo ‘conocimiento’ y esta opción terminológica tiene sentido en la medida en que considera que la agencialidad entrañada social y políticamente está en el centro de todo tipo de conocimiento. Defenderé, con todo, una tesis más radical, a saber: que, si nos tomamos en serio el papel de la agencialidad en la articulación del conocimiento, debemos acercarnos a la noción de conocimiento que se utiliza en la ciencia y en los desarrollos tecnológicos desde la perspectiva del esfuerzo de las y los supervivientes por articular sus experiencias de daño, y no a la inversa. Abstract: Quite often, Conocimiento expropiado takes the natural sciences as the model of knowledge, namely, the notion of knowledge that we associate with information and technological progress; an alternative model only emerges in this book when hermeneutic injustice and certain forms of epistemic harm are analysed. Broncano alludes to both epistemic experiences as knowledge, and this terminological choice makes sense insofar as he has placed socially and politically embedded agency at the centre of knowledge. My thesis is however that, if we are to take seriously the role of agency in the articulation of knowledge, we must examine the notion of knowledge as used in science and technological developments from the perspective of the survivors’ attempt to make sense of their moral wound rather than the other way round. Palabras clave: Conocimiento, relato, daño, objetividad, transformación. Keywords: Knowledge, narrative, moral wound, objectivity, transformative.

Resumen: Marta Suria escribe Ella soy yo como parte de su respuesta a la irrupción del recuerdo de las agresiones sexuales que había sufrido desde su infancia. Confía en que la forma en que narra su experiencia, la transforme y la libere. ¿Cómo es posible, sin embargo, que una forma de narrar nos transforme, tenga el poder de liberarnos? En este escrito, describiremos, primero, la concepción de la relación entre lenguaje y experiencia que da pie a esta perplejidad; esbozaremos, posteriormente, una concepción alternativa en la que esa perplejidad se disuelve y desde la que es fácil reconocer el poder transformador de ciertas formas de narrarnos. Descansará esta concepción alternativa en la idea de expresión y en la capacidad de percibir aspectos. Mostraremos, en primer lugar, que el lenguaje no solo sirve para describir o para valorar nuestra experiencia, sino también para expresarla; argumentaremos, posteriormente, que la expresión lingüística o gestual de una experiencia no solo la anuncia o manifiesta, sino que le da forma y la modula; subrayaremos, finalmente, el poder transformador de ciertos usos expresivos del lenguaje.: Marta Suria writes Ella soy yo as part of her response to the irruption of the memories of the sexual aggressions she had suffered since childhood. She is convinced that the way she narrates her experience will transform and liberate her. How is it at all possible that a certain kind of narrative may transform and liberate us? In this paper, we will first describe the conception of the relationship between language and experience that lies behind this perplexity and, secondly, we will sketch an alternative conception that will hopefully allow us to account for the transformative power of certain kinds of narratives. This alternative conception will hinge on the idea of expression and on the concept of aspect perception. For this purpose, we will firstly argue that language can be used not only to describe or evaluate our experience, but also to express it; we will, then, defend the view that linguistic or gestural expressions of our experiences not only announce or manifest them, but contribute to shaping and modulating them; finally, we will highlight the transformative, humanizing power of certain expressive uses of language. Palabras clave: daño sexual, narración, expresión, percepción de aspectos, escena de triangulación, jugar, transformación. Keywords: sexual harm, narrative, expression, aspect perception, scene of triangulation, playing, transformative.

The received view about rationalizing explanations divides our psychological status into two kinds: beliefs and desires. In *The Retrieval of Ethics*, Talbot Brewer makes a case against this view. In this paper, I examine our experience as readers of *The Castle* by Franz Kafka to support Brewer's critical program, that is, his challenge to the received view. I will argue, however, that a proper analysis of this experience poses a serious problem to Brewer's alternative approach, that is, to his attempt to retrieve our agency thanks to a proper understanding of the role of the good in rationalizing explanations

Marta Suria writes *Ella soy yo* as part of her response to the irruption of the memories of the sexual aggressions she had suffered since childhood. She is convinced that the way she narrates her experience will transform and liberate her. How is it at all possible that a certain kind of narrative may transform and li- berate us? In this paper, we will first describe the conception of the relationship between language and experience that lies behind this perplexity and, secondly, we will sketch an alternative conception that will hopefully allow us to account for the transformative power of certain kinds of narratives. This alternative conception will hinge on the idea of expression and on the concept of aspect perception. For this purpose, we will firstly argue that language can be used not only to describe or evaluate our experience, but also to express it; we will, then, defend the view that linguistic or gestural expressions of our experiences not only announce or manifest them, but contribute to shaping and modulating them; finally, we will highlight the transformative, humanizing power of certain expressive uses of language.

at seek to identify the necessary and sufficient conditions for a work to count as fiction. She argues that this goal cannot really be achieved; instead, she appeals to the notion of genre to distinguish between fiction and nonfiction. This notion is significantly more flex- ible, since it invites us to identify standard—but not necessary—and counter-standard features of works of fiction in light of our classificatory practices. More specifically, Friend argues that the genre of fiction has the genre of nonfiction—and only that genre—as its con- trast class. I will refer to the particular way in which Friend elaborates this claim as the contrast view. I have, nevertheless, the impression that this view unnecessarily narrows down the array of perspectives and attitudes from which we can approach works of fiction. I will thus develop a line of reasoning to the effect that the contrast view should rather be construed as picking out a particular way of relating to works of fiction that lies at the end of a continuum defined by different degrees of reflectivity and estrangement. This implies that the contrast view is false as a general claim about how we experience works of fiction, even though this view may appropriately de- pict a specific way of approaching such works.

En *Racionalidad, acción y opacidad*, Fernando Broncano nos invita a poner en cuestión una ima- gen de la racionalidad y de la agencia que se sitúa en el centro de la cultura filosófica contemporánea. Es una imagen que nace con la modernidad y ocupa un lugar tan nuclear en nuestra cultura que se sostiene más allá de cualquier evidencia que podamos aportar en su contra. La tarea que emprende *Racionalidad, acción y opacidad* es subrayar los puntos ciegos de esa imagen, cómo nos aleja de nuestras prácticas y experiencias, su incapacidad para dar cuenta de las mismas; o, dicho de otro modo, las dificultades de esa imagen para atender a las exigencias del equilibrio reflexivo que toda propuesta filosófica debe satisfacer. En este comentario, se elucidan varios aspectos de esa imagen y discute el análisis que de ellos propone Broncano

In *Austerlitz* by W.G. Sebald, we go through a detailed report of Austerlitz of Austerlitz's life as delivered by him to a narrator about whom we know very little. The story dwells on a wealth of events and situations that Austerlitz experienced at the time as strange or episodic. There is however a constant impulse that, in hindsight, Austerlitz regards as unifying all those events and situations. I will approach the story in *Austerlitz* as the recounting of the process by which Austerlitz becomes aware of the direction of this impulse and engages in a quest for truth the details of which will reveal (and determine) the ethical nature of the impulse that unifies his life. More specifically, I will account for Austerlitz's constant impulse in terms of the inescapability of a certain dynamics of projection that connects a particular situation to which his life is anchored to a more universal concern.

In this chapter, I focus on the experience of torture and, more specifically, on Jean Améry's account of it in his book *At the Mind's Limits*. There he claims that the loss of confidence in the world is the most devastating effect he experienced as a victim of torture. I thus explore what cosmopolitan aspiration may be revealed by this loss and also discuss whether it is to be discredited as an irrational reaction on the victim's side or instead as proportional to the facts and, consequently, as relevant to the conditions under which a certain cosmopolitan aspiration could be achieved or, at least, favored.

This essay examine Samuel Beckett's *Trilogy to specify the conditions under which we could make sense of practical necessity. Among other things, I will show how Ajax' must is connected to Mol/oy's attempt to visit his mother and to the need to keep talking that both Molloy and the Unnamable share. I will conclude that their dislocated pursuit of certainty reveal - among other things - how the conditions under which practical necessity can be properly experienced have been extirpated from our social and cultural context. Still, the fact that its vestiges nevertheless subsist provide some reason to regard practical necessity as a constitutive aspect of our agency. This will provide a particular sense in which the Unnamable may coherently claim: "I don't know, I'll never know, in the silence you don't know, you must go on, I can't go on, I will go on."

Contrary to what he expected, Primo Levi didn’t experience his life after being released from Auschwitz as cheerful and light-hearted. He – like many other survivors – was haunted by an obscure and solid anguish. It took some effort for him to discern the object or source of this anguish. He finally identified it as springing from a sense of shame or guilt in front of the drowned, that is, of those who were exterminated in the Lager. He could not determine, however, whether his shame or guilt was at all rational. In this paper l examine Levi’s shame in light of what I regard as the dominant conception of practical deliberation, according to which principles and emotional detachment are central to our ability to deliberate appropriately. This conception underlies the role that John Rawls ascribes to the original position in the determination of the fundamental principles of justice. Deliberation in the original position is supposed to abstract away from any particular moral situations that one may actually have faced, since these are purely circumstantial elements to be discarded as both irrelevant and misleading for a proper deliberation on the principles of justice. In this paper, I intend both to make a case against the conception of practical deliberation on which Rawls’ original position relies and to vindicate the rationality of Levi’s shame, once some well-entrenched assumptions are brought to light and challenged.

In _Deaths in Venice_ Philip Kitcher explores the bearing that _Death in Venice_ by Thomas Mann may have on 'the oldest and deepest question of philosophy: _how to live_'. In this paper, I will distinguish two ways in which this question can be interpreted. One one reading, it amounts to the question 'how to lead a valuable or worthy life?', whereas on the other it involves a more elusive idea, namely, that a person may breath and walk and still be dead in a relevant sense, that is, from the perspectivo in which being alive does not reduce to biological survival. In my view, Kitcher's reflection on Mann's novella relies on the first, more standard reading. I argue, though, that the being-alive interpretation sheds a more unified light on _Death in Venice_; in fact, I will conclude that the need to shift from one to another interpretation constitutes a fundamental concern in the novella.

Entiende Christine Korsgaard que sólo una vida gobernada por principios universales responde a nuestra condición de sujetos, pues, de otro modo, quedaríamos reducidos a un amasijo de impulsos inconexos. Quiere, no obstante, alejarse de la imagen del sujeto escindido entre razón y pasión y reivindica la necesidad de unificar cada una de las partes que lo constituyen. Tal unificación deberá descansar, según Korsgaard, en el respeto a principios morales de carácter universal, si bien confía en que una vida gobernada por tales principios permita atender suficientemente los proyectos y compromisos con los que el sujeto se identifica y que constituyen su identidad práctica. En este escrito, trataré de mostrar que la propuesta de Korsgaard no acaba de alejarse de la concepción dividida del sujeto. Argumentaré, en este sentido, que las asimetrías que establece entre la identidad moral y otros tipos de identidades prácticas sólo pueden entenderse desde esa concepción escindida.

Robert Dunn, David Finkelstein and Richard Moran have recently contributed to broadening the debate on self-knowledge within the analytic tradition. They raise questions concerning the sort of awareness that may have a healing effect in psychoanalytic therapy, and enhance the relevance to self-knowledge of a deliberative, and practically committed, attitude toward oneself. They reject, however, that self-observation could play a significant role in a strictly first-person attitude toward oneself, since they conceive of it as essentially detached and, in this respect, similar to the kind of attitude that a third party might adopt. I will appeal to Simone Weil's distinction between two sorts obedience and to the contrast between two characters in *The Karamazov Brothers* to elucidate a kind of self-awareness that involves a kind of observation that is constitutively committed. This line of reasoning will also serve to elucidate a fundamental sort of self-knowledge that derives from the subject's capacity to acknowledge her own position within the ethical world and is closely associated to the goal of psychoanalytic therapy.

I vindicate the thrust of the particularist position in moral deliberation. this purpose, I focus on some elements that seem to play a crucial role in first-person moral deliberation and argue that they cannot be incorporated into a more sophisticated system of moral principles. More specifically, I emphasize some peculiarities of moral perception in the light of which I defend the irreducible deliberative relevance of a certain phenomenon, namely: the phenomenon of an agent morally coming across a particular situation. Following on from Bbernard Williams, I talk of an agent’s character as a factor that contributes to fixing what situations an agent comes morally across. A crucial point, in the debate, will be how an agent confronts the normatively loaded features of his own character when he is engaged in first-person deliberation.

Robert Dunn and Richard Moran have emphasized the importance of deliberation to account for the privileged authority of self-ascriptions. They oppose a theoretical attitude toward oneself to a deliberative attitude that they regard as more intimate, as purely first-personal. In this paper, I intend to challenge Dunn’s and Moran’s understanding of how the deliberative attitude is to be conceived of and, in particular, I will call into question their claim that this attitude is wholly non-observational. More positively, I will elaborate on the sort of self-observation that must play a central role in an agent’s deliberation if she is to recognize a certain belief, decision, or intention as genuinely her own and, therefore, as expressing a purely first-person point of view. In the elaboration of my argument, I will rely on a number of situations as they are described in Peter Carey’s novel Oscar and Lucinda.