Folk Concepts of Intentional Action in the Contexts of Amoral and Immoral Luck

This paper concerns a recently discovered, puzzling asymmetry in judgments of whether an action is intentional or not (Knobe 2003a, b). We report new data replicating the asymmetry in the context of scenarios wherein an agent achieves an amoral or immoral goal due to luck. Participants’ justifications of their judgments of the intentionality of the agent’s action indicate that two distinct folk concepts of intentional action played a role in their judgments. When viewed from this perspective, the puzzle disappears, although the asymmetry remains

AHRC-DFG Project "Songs of the Revolution of 1848 and their Reception History in Germany"

This on-line project consists of commentaries and critical editions of the songs of the 'Vormaerz' and the 1848 Revolution which have shaped the cultural memory of this period in Germany. Looking at both textual and musical developments the research deals with the history of reception of key 1848 songs by established as well as anonymous poets. These together have formed an enduring corpus in the repertoires of singers of German political song. One of the main findings is how songs are not static: they evolve musically and textually and can undergo changes of function during a process of historical reception which is often ideologically motivated.

Songs of the Seventeenth Century

"Songs of the Seventeenth Century" was published in-house and was the result of an innovative teaching/research project that brought together staff and students in history and music. The package was distributed in other universities and included documents, commentary and new musical recordings (made by QUB students and recent graduates).

The evaluative nature of the folk concepts of weakness and strength of will

This article examines the evaluative nature of the folk concepts of weakness and strength of will and hypothesizes that their evaluative nature is strongly connected to the folk concepts of blame and credit. We probed how people apply the concepts of weakness and strength of will to prototypical and non-prototypical scenarios. While regarding prototypical scenarios the great majority applied these concepts according to the predictions following from traditional philosophical analyses, when presented with non-prototypical scenarios, people were divided. Some, against traditional analyses, did not apply these concepts, which we explain in terms of a clash of evaluations involving different sorts of blame and credit. Others applied them according to traditional analyses, which we explain in terms of a disposition to be reflective and clearly set apart the different sorts of blame and credit involved. Still others applied them in an inverse way, seemingly bypassing the traditional components resolution and best judgment, which we explain in terms of a reinterpretation of the scenarios driven by an assumption that everyone knows deep inside that the best thing to do is to act morally. This division notwithstanding, we claim that our results are largely supportive of traditional analyses (qua analyses of folk concepts).

Let The People Sing? Irish Rebel Songs, Sectarianism, and Scotland’s Offensive Behaviour Act

Irish rebel songs afford Scotland’s Irish diaspora a means to assert, experience, and perform their alterity free from the complexities of the Irish language. Yet this benign intent can be offset by how the music is perceived by elements of Scotland’s majority Protestant population. The Scottish Government’s Offensive Behaviour Act (2012) has been used to prosecute those singing Irish rebel songs and there is continuing debate as to how this alleged offence should be dealt with. This article explores the social function and cultural perception of Irish rebel songs in the west coast of Scotland, examining what qualities lead to a song being perceived as ‘sectarian’, by focusing on song lyrics, performance context, and extra-musical discourse. The article explores the practice of lyrical ‘add-ins’ that inflect the meaning of key songs, and argues that the sectarianism of a song resides, at least in part, in the perception of the listener.