University of California, Berkeley
1. Hello, this is your brain, reading about your brain, reading about your brain
Consider the following question: why are we conscious?
I get it; pondering consciousness sounds like an activity only enjoyed by nerds, people who are high, those of us who have found a moment of post-yoga stillness, or people who fit in all three categories at once. But notice that we do not tell our heart to beat or our cells to grow, we do not have to think about focusing our eyes, and we do not consciously will our bodies to inject adrenaline into our bloodstream when something scary happens. These things happen more or less automatically, and if such highly complex tasks can happen without our attention or willpower, why should other complex tasks—like choosing what to eat for breakfast—require conscious awareness? How hard is choosing which flavor of yogurt to eat? And do we really need to be conscious to determine that we should peel a banana before biting one? (more…)
One of the most famous passages in Sartre’s Being and Nothingness (1943) is his phenomenological account of shame. But before writing the 650-page piece for which he is best known, he wrote a much briefer—and clearer—work, The Sketch for a Theory of the Emotions (1939). In this earlier book, Sartre describes emotions as a means of escaping the world when it becomes too difficult. Here he calls emotions ‘degradations of consciousness’ (E loc. 688, 700) and ‘magical transformations of the world’ (E loc. 757). In Being and Nothingness, by contrast, shame is presented as a means of ‘realization’, ‘recognition’, and even ‘discovery of an aspect of my being’ (BN, pp.245-6). This paper therefore asks whether Sartre’s phenomenology of shame presents it as an emotion, by his own definition of the term. The answer, it is argued, is no. This is important for the Sartre scholar—because many readers of Being and Nothingness assume that shame is an emotion. And it is important for philosophers of religion and students of atheism—because this conclusion opens up the possibility of reading the early Sartre as a phenomenologist of sin from a graceless position.