Christel Fricke | University of Oslo (original) (raw)

Uploads

Papers by Christel Fricke

In this paper, I sketch an interactive process of conflict solution and moral learning which brin... more In this paper, I sketch an interactive process of conflict solution and moral learning which brings about agreements on social and moral norms as well as the motivation to act in accordance with them. The norms emerging from this process are justified in virtue of certain features of the process itself. This sketch is strongly inspired by what Adam Smith, in his Theory of Moral Sentiments (1759), says about human morality. Furthermore, the process as I reconstruct it bears interesting similarities to the process of convention building as it has been described by David Lewis. Against this background, I explore how social norms can be conventional and still have universal authority.

Revue Internationale De Philosophie, 2014

Jane Austen has long been recognized as a moral thinker. Below the surface of romance there is in... more Jane Austen has long been recognized as a moral thinker. Below the surface of romance there is in her novels a moral message. I focus on Pride and Prejudice. Certain passages of this novel have been traced to Adam Smith’s Theory of Moral Sentiments before. But Jane Austen did not only borrow two short passages from Adam Smith and inserted them into the text of her novel. My claim is that Jane Austen relied much more extensively on the Theory of Moral Sentiments as a source of inspiration for this novel. Indeed, she used it, and in particular book VI.iii., the chapter on ‘self-command’ in the TMS, as a source of inspiration for designing the plot of this novel, for shaping some of the main characters, and for composing the moral message in the sub-text of this novel. By inviting her readers to share the point of view of the heroine, Elizabth Bennet, she involves them in a process of learning to be virtuous that bears strong resemblance to this process as Adam Smith described it in hi...

reSuMen Tipicamente, el perdon se convierte en un problema cuando un ofensor ha danado a una vict... more reSuMen Tipicamente, el perdon se convierte en un problema cuando un ofensor ha danado a una victima. Cuando se comprometen en un proceso de dar y conceder perdon, al ofensor y a su victima les interesan las relaciones sociales que previamente existieron entre ellos. Partiendo del trasfondo de estas relaciones surge la pregunta de si para la victima perdonar es un deber y si el ofensor tiene el derecho de ser perdonado. Sugiero distinguir entre relaciones personales y morales entre personas: las morales vinculan a todo agente racional a la comunidad de todos los agentes morales, mien -tras que las primeras son de caracter personal. En este sentido, distingo entre perdon personal y moral. Y discuto que el ofensor tiene derecho a ser moralmente perdonado, o por la misma victima o por otro miembro de la comunidad de agentes morales; pero la victima no tiene un deber de perdonar personalmente al ofensor. Palabras clave: perdon; vulnerabilidad moral; dano; victima; ofensor * Universidad ...

Politischer und wirtschaftlicher Liberalismus, 2019

Journal of Scottish Philosophy, 2021

We read Adam Smith's Theory of Moral Sentiments as a critical response to David Hume's mo... more We read Adam Smith's Theory of Moral Sentiments as a critical response to David Hume's moral theory. While both share a commitment to moral sentimentalism, they propose different ways of meeting it...

Traditional aesthetics took it for granted that the intersection between artworks and ordinary ob... more Traditional aesthetics took it for granted that the intersection between artworks and ordinary objects was empty. Artworks and artworks alone could be beautiful and glorious. At the end of the 19th century, artists began giving up on the purpose of creating beautiful works of art. Marcel Duchamp’s ready-mades represent the first and decisive step in this direction, a step that is still provoking the artworld. Arthur Danto has used the story of the Biblical Transfiguration of Jesus as a model for understanding the difference between an ordinary object and a work of art. But does the object of an aesthetic attitude undergo an illusionistic change of appearance, a transfiguration? We are raising the question whether what Danto had in mind should not rather be described with the help of the theological notion of transubstantiation. Does Danto’s move take us back to the old doctrine according to which the difference between an artwork and its ordinary counterpart is ontological in kind? ...

Kants Theorie des reinen Geschmacksurteils

Husserl’s Phenomenology of Intersubjectivity

The IPJP is published in association with NISC (Pty) Ltd and Routledge, Taylor & Francis Group. w... more The IPJP is published in association with NISC (Pty) Ltd and Routledge, Taylor & Francis Group. www.ipjp.org in gendered social space in relation to the incorporation of the sexed body into phenomenology.

Christel Fricke explores the conditions under which moral forgiveness becomes an issue, namely ou... more Christel Fricke explores the conditions under which moral forgiveness becomes an issue, namely our moral vulnerability to each other. According to our Western, egalitarian understanding of morality, all human beings have intrinsic value or moral dignity. They have this normative status in virtue of being human, they do not have to merit it. A person’s dignity is invulnerable. Nevertheless, a person is morally vulnerable in virtue of her or his embodiment and social nature. An act of wrongdoing causes damage to the social relationship between the victim and his offender and thereby affects the social network of which this relationship is a part. It also affects the social selves and self-conceptions of both the victim and the offender in so far as these have been determined within this network. The communicative process of forgiveness is supposed to motivate the victim and his offender to moderate their feelings of resentment and remorse respectively, to put an end to blame and self-...

Kants Theorie des reinen Geschmacksurteils, 1990

Kants Ästhetik, Kant's Aesthetics, L'esthétique de Kant, 1998

SATS, 2004

Moral principles are universally valid, valid for all human beings in so far as they are mature, ... more Moral principles are universally valid, valid for all human beings in so far as they are mature, responsible and of a sound mind this idea is an essential part of our understanding of morality. Moral principles do not allow for any exceptions. Therefore, we expect from ...

Immanuel Kant: Kritik der Urteilskraft, 2008

The paper provides a close reading of §§ 30 - 38 of Kant's 'Critique of the Power of Judgment' wi... more The paper provides a close reading of §§ 30 - 38 of Kant's 'Critique of the Power of Judgment' with a particular focus on his justification of the claims of aesthetic judgments to universal communicability.