The Logic Of Autonomy
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The Logic of Autonomy
Author: Jan-R Sieckmann
language: en
Publisher: Bloomsbury Publishing
Release Date: 2012-11-13
Autonomy is the central idea of modern practical philosophy. Understood as self-legislation, autonomy seems to require that the validity of norms depends on recognition, namely, that their addressees, being autonomous agents, recognise these norms to be valid. But how can one be bound by norms whose validity depends on their being recognised as valid by their addressees? The questions of how autonomous morality and, on this basis, the authoritative character of law can be understood, present persistent puzzles that have been widely discussed, but still await a satisfactory solution. This book presents an analysis of the idea of autonomy as self-legislation and its consequences for law and morality. It links the idea of autonomy with the idea of the balancing of normative arguments, develops a notion of normative arguments as distinct from normative judgements and statements and explains claims to correctness and objectivity that are found in normative discourse. Thus, a 'logic of autonomy' emerges, and it is pervasive in normative reasoning. It connects theses regarding the logic of norms, the structure of balancing, human and fundamental rights, legal validity, legal interpretation, and the relations among legal systems, offering a theory of central elements of normative argumentation, a theory that is undergirded by the mutual relations that exist between and among its parts as well as through the relations that it bears to other theories. Moreover, it offers an alternative to Kantian notions of autonomy and provides solutions to problems that other theories have failed to master.
The Logic of Autonomy
Autonomy is the central idea of modern practical philosophy. Understood as self-legislation, autonomy seems to require that the validity of norms depends on recognition, namely, that their addressees, being autonomous agents, recognise these norms to be valid. But how can one be bound by norms whose validity depends on their being recognised as valid by their addressees? The questions of how autonomous morality and, on this basis, the authoritative character of law can be understood, present persistent puzzles that have been widely discussed, but still await a satisfactory solution. This book presents an analysis of the idea of autonomy as self-legislation and its consequences for law and morality. It links the idea of autonomy with the idea of the balancing of normative arguments, develops a notion of normative arguments as distinct from normative judgements and statements and explains claims to correctness and objectivity that are found in normative discourse. Thus, a 'logic of autonomy' emerges, and it is pervasive in normative reasoning. It connects theses regarding the logic of norms, the structure of balancing, human and fundamental rights, legal validity, legal interpretation, and the relations among legal systems, offering a theory of central elements of normative argumentation, a theory that is undergirded by the mutual relations that exist between and among its parts as well as through the relations that it bears to other theories. Moreover, it offers an alternative to Kantian notions of autonomy and provides solutions to problems that other theories have failed to master.
Political Dramaturgies and Theatre Spectatorship
What do we mean when we describe theatre as political today? How might theatre-makers' provocations for change need to be differently designed when addressing the precarious spectator-subject of twenty- first century neoliberalism? In this important study Liz Tomlin interrogates the influential theories of Jacques Rancière to propose a new framework of analysis through which contemporary political dramaturgies can be investigated. Drawing, in particular, on Ernesto Laclau and Chantal Mouffe, Lilie Chouliaraki and Judith Butler, Tomlin argues that the capacities of the contemporary and future spectator to be 'effected' or 'affected' by politically-engaged theatre need to be urgently re-evaluated. Central to this study is Tomlin's theorized figuration of the neoliberal spectator-subject as precarious, individualized and ironic, with a reduced capacity for empathy, agency and the ability to imagine better futures. This, in turn, leads to a predilection for a response to injustice that is driven by a concern for the feelings of the subject-self, rather than concern for the suffering other. These characteristics are argued to shape even those spectator-subjects towards the left of the political spectrum, thus necessitating a careful reconsideration of new and long-standing dramaturgies of political provocation. Dramaturgies examined include the ironic invitations of Made in China and Martin Crimp, the exploration of affect in Kieran Hurley's Heads Up, the new sincerity that characterizes the work of Andy Smith, the turn to the staging of the spectators' 'other' in Developing Artists' Queens of Syria and Chris Thorpe and Rachel Chavkin's Confirmation, and the community activism of Common Wealth's The Deal Versus the People.