Richard Rorty Essays On Heidegger And Others

Richard Rorty Essays On Heidegger And Others-81
Essays on Heidegger and Others: Philosophical Papers, Vol 22 – Rorty’s attention to the particularly democratic nature of the novel’s power is distinctive.Briefly stated, for Rorty the novel “attempts to put us in relations to persons which are not mediated by questions of truth”.…

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You do that by manipulating their sentiments in such a way that they imagine themselves in the shoes of the despised and oppressed.

178-9 are more likely to generate this kind of moral progress because they rely on “suggestions of sentiment” rather than “the commands of reason.” On this view, moral progress is a matter of “wider and wider sympathy,” not “rising above the sentimental to the rational.” In sum, the project of sentimental education entails nothing short of “re-marking human selves so as to enlarge the variety of the relationships which constitute those selves”. 25 I want to highlight two things about this project of sentimental education that distinguish Rorty’s account from other appeals to the novel that we will take up in the next section.

Contingency, Irony, and Solidarity work develops his claim that the novel is the characteristic genre of democracy by outlining its role in a full-blown program of “sentimental education” designed to generate moral progress toward a “global democratic utopia” where “all members of the species are concerned about the fates of all the other members”.

12 See also: "Heidegger, Kundera, and Dickens" in R Rorty, Essays on Heidegger and Others:…

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By using our site, you agree to our collection of information through the use of cookies. Google(); req('single_work'); $('.js-splash-single-step-signup-download-button').one('click', function(e){ req_and_ready('single_work', function() ); new c. Moral progress depends upon hearing voices that say things never heard before, including claims about injustices that may not be perceived as such.190 8 Three key insights emerge here that, although undeveloped, later form the basis for his turn to the novel.All three undermine the idea that philosophy has privileged access to reality.In his essays of the late 1970s, Rorty further undermines the epistemological and disciplinary privileges of traditional philosophy, thus blurring the distinctions between philosophy and other genres of writing.14 A handful of essays from the mid-1980s pursues the relation between epistemic and ethical communities by affirming Sellars’ notion of morality as “we-intentions,” which defines immoral action as “the sort of thing we don’t do”, Contingency, Irony, and Solidarity, his stance is clear: This process of coming to see other human beings as “one of us” rather than as “them” is a matter of detailed description of what unfamiliar are like and of re-description of what we ourselves are like.This is a task not for theory but for genres such as ethnography, the journalist’s report, the comic book, the docudrama, and, especially, the novel.Rorty Contingency, Irony, and Solidarity, New York 1989 and "Heidegger,…21 Over time, though, Rorty developed his take on the power of the novel into an account of how moral progress can be achieved, understood as making our moral or communal attachments more inclusive. Truth and Progress: Philosophical Papers, Vol 323 The significance of this appeal to sentiment is a turn to Hume rather than Kant, and a shift away from rationality and argumentation as the primary engines of social change to the imagination and narratives: To get whites to be nice to blacks, males to females, Serbs to Muslims, or straights to gays […] all you have to do is to convince them that all the arguments on the other side appeal to “morally irrelevant” considerations.Both highlight the importance of the imagination and the cultivation of sympathetic or empathetic attachments, give a primary role to the emotions or sentiment, and conceive of an educational process that takes place over time.Both make expanding our sense of the variety and diversity of human life central and defend an ethical orientation that foregrounds attention and increased sensitivity in the context of particular people and situations – what Nussbaum calls a “morality of perception”.


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