Three substantial chunks of a follow-up conversation to our free speech episode. Mark and Wes discuss Jordan Peterson on speech, organizations promoting certain speech (as opposed to restricting), insults vs. arguments, offense vs. harm, "incoherence" arguments like Fish's, fundamental principles in ethics, and more.

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Continuing our free-form discussion, trying to make sense of Stanley Fish's “There’s No Such Thing as Free Speech, and It’s a Good Thing, Too” (1994) and other potential rationales for prohibiting hate speech. How might the same sentence or idea be used in different speech acts, some of which might be legitimately censured but others not?

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A free-form discussion drawing on Stanley Fish's “There’s No Such Thing as Free Speech, and It’s a Good Thing, Too” (1994), Joel Feinberg’s “Limits to the Free Expression of Opinion” (1975), and other sources.

What are the legitimate limits on free speech? Feinberg delves into the harm and offense principles. Fish argues that every claim to free speech has ideological assumptions actually favoring some types of speech baked into it. A lively back and forth ensues!

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Continuing on How to Do Things with Words (lectures from 1955), covering lectures 5–9.

Austin tries and fails to come up with a way to grammatically distinguish performatives from other utterances, and so turns to his more complicated system of aspects of a single act: locutionary, illocutionary, perlocutionary. In doing so, he perlocutionarily blows our minds.

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End song: "The Promise" by When In Rome; hear singer Clive Farrington on Nakedly Examined Music #40.

On How to Do Things with Words (lectures from 1955).

What's the relationship between language and the world? Austin says it's not all about descriptive true-or-false statements, but also includes "performatives" like "I promise…" and "I do" (spoken in a wedding) that are actions unto themselves. They can't be true or false, but they can be "unhappy" if social conventions aren't fulfilled (e.g., you try to marry a pig). Austin thinks performatives will change your whole view of language and of linguistically expressed philosophical problems!

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Continuing with Emily Wilson on her translation of the Greek epic poem. We discuss the oikos, or estate, built on violence, and its connection to xenia, or hospitality, which serves to forge military alliances. Also: status distinctions and the role of the gods in the text.

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End song: "Tiny Broken Boats" by Arrica Rose, as interviewed on Nakedly Examined Music #66.

On the classic Greek epic poem, written ca. 750 BC and translated by our guest Emily Wilson in 2018.

Does this story of "heroes" have anything to teach us about ethics? Wilson wrote an 80-page introduction to her new translation laying out the issues, including "hospitality" as a political tool, the value for status and identity of one's home (including your family and slaves), and the tension between strangeness and familiarity. Can time and change really be undone?

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Continuing on Pascal's Pensées.

More on our human desire and how God is supposed to address that, plus Pascal's views on political philosophy, the relation between faith, reason, and custom… and finally, the wager! Why not just be a skeptic? Is Pascal right that people suck?

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End song: "44 Days" by Dutch Henry, written and sung by Todd Long, as interviewed on Nakedly Examined Music #34.

On Blaise Pascal's Pensées (1670).

Is it rational to have religious faith? You're likely familiar with "Pascal's Wager," but our wretchedness is such that we can't simply choose to believe and won't be argued into it. Pascal thinks Christianity is the only religion to accurately describe the human condition.

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Continuing on John Stuart Mill's On Liberty. We discuss "partial truths," whether "truth will out," whether we can discard some "experiments in living" as established failures, education, "barbarians," how Mill compares to Nietzsche, and more.

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End song: "Flavor" by Tori Amos with strings by John Philip Shenale, interviewed on Nakedly Examined Music #12.