The paper focuses on two research objectives. First, it aims to critically examine a reductio ad absurdum argument against incompatibilism whose main themes can be found in Peter F. Strawson’s Freedom and Resentment. The doubts raised about the argument are inspired by a thought experiment based on fictitious Ludovico’s technique described in Anthony Burgess’s novel A Clockwork Orange. The second objective consists in outlining a version of the compatibilist stance – the version which is immune to Strawson’s objections against the traditional rendering of compatibilism and enables deeper understanding of various possible interpretations of the controversy between compatibilists and their opponents. The proposed position includes a hypothesis on the function of the attitude of participation and the expressivist explications of the concepts crucial for the practice of ascribing moral responsibility. The important feature of the analyses in question is the central role of the states of mind whose content are plans for reactive moral sentiments.
“A school of virtues, kindness, love”: Salani series of romances as modelling text for “New Italy” women – The woman, seen as a children /citizens educator, in United Italy’s nation-building becomes target of an educational action entrusted to publishing industry. The Salani Collection, which is here pragmatically and linguistically analyzed, represents an emblematic example of serial narrative: the author hides himself in the texts as well that the publishing house is the addresser; the novel becomes a model with a unique moral and behavioral message, spread by an accessible language shaped on Tuscan.
In the last phase of Franciszek Karpiński's life as a writer (the first quarter of the 19th century), he practically gave up poetry and concentrated instead on writing memoirs. This article tries to find out to what extent his autobiographical work, especially his Historia mego wieku i ludzi, z którymi żyłem [A History of My Century and the People with Whom I Lived], is influenced by an attitude characteristic of the sentimentalism of the previous century. As this analysis shows Karpiński's narrative exhibits both a sensitivity much indebted to Rousseau's autobiographical method and skilful shifts of tone, from satire and irony to various shades of melancholy. For sentimentalist aesthetic and poetics the continual manipulation of tone is a means of alerting the reader to the world's complexity. As in the novels of Lawrence Sterne, that complexity is experienced by way of careful observation of fragments of reality, defined by the subjectivity of the observer and the truth of his emotions.