Timothy M. Kwiatek

The various pseudonymous authors of Kierkegaard’s Either/Or employ ill-defined and seemingly inconsistent notions of friendship. In this paper, I examine the different uses of friendship, including some conspicuous references to friendship and attention in a Greek sense. I then consider several possible interpretations of this Greek friendship. These include friendship that follows the model described by Aristotle in the Nicomachean Ethics, the kind of midwifery Socrates describes in the Theaetetus, and the ancient Greek practice of xenia, or guest-friendship.

A basic assumption in the literature about praise and blame is that one cannot privately praise. Strangely this has not been argued for. It’s obvious that I can praise you without anyone other than the two of us knowing. But can I praise you without you knowing? The skeptic would say no. Why not? For one, we characterize praise as being overtly expressed. For another, it awkwardly fits our language. We rarely speak of private praise under that description. Further, the skeptic may deny that apparent examples are praise at all, subsuming them under a nearby notions such as admiration. In this paper, I offer a variety of examples to motivate the idea that private praise is a familiar and important phenomenon. I argue that none of the skeptic’s actual considerations hold up under scrutiny. On behalf of the skeptic, I develop a more promising argument against the possibility of private praise: that praise is a success term. I suggest that this argument is still implausible, though I leave it open for a skeptic to develop. Recognizing private praise as something that can and does happen has implications for debates about praise and blame. More importantly, it illuminates an aspect of one’s inner world.

What holds punk together? I don’t just mean how hasn’t that scene fallen apart completely (though perhaps you think it has). I mean what unifies all the things we call “punk”? How can things as disparate as a piece of music, an album, a band, a person, an outfit or a zine all share this property? We could start by confining our question to music: what makes The Ramones a band in the same category as Blondie? What makes The Go-Go’s fit in the same category as the Bad Brains? When I talk to other punks, these questions are not puzzling. Punks know it when they see it (or hear it). But when other philosophers make the mistake of talking to me about music, I often come up against questions that boil down to this: does punk have an essence? Is there some quality that all and only the things we call “punk” possess? The point of this paper is to try to answer that question in the negative. I will consider several possible explanations for what might unify punk. After showing that these are inadequate, I offer an alternate explanation: punk has no essence. I conclude by considering some of the benefits of that lack of essence.

Praise and blame can function to manage membership in informal social groups. We can be praised into groups, like if you remark on my good taste in music and invite me to have lunch with you. We can be blamed out of groups, like if I’m rude to your spouse and you stop inviting me to parties. These can move in the opposite direction, with praise removing you from a group and blame drawing you in. If we attend to the way praise and blame shape our social world, we can revisit some debates about the ethics of praise and blame with new eyes.