Volume 4, Issue 1

Performative accounts of personhood argue that group agents are persons, fit to be held responsible within the social sphere. Nonetheless, these accounts want to retain a moral distinction between group and individual persons. That: (1) Group-persons can be responsible for their actions qua persons, but that (2) group-persons might nonetheless not have rights equivalent to those of human persons. I present an argument which makes sense of this disanalogy, without recourse to normative claims or additional ontological commitments. I instead ground rights in the different relations in which performative persons stand in relation to one another.

I will apply Ásta’s conferralist account of sex and gender to nationality, and distinguish two different ways in which nationality is conferred – by institutions (legal nationality), and in social interactions (social nationality). I will then turn to the moral and political conflicts that arise where different understandings of nationality and different ways of conferring it overlap and collide. My main thesis is that these conflicts are never simply factual disputes about who and what belongs to a nation, they are always normative conflicts about who ought to belong. This, in turn, means that we cannot think about the ontology of nationality without thinking about what nationality ought to be, a conclusion that is well in line with the basic tenets of conferralism.

Contemporary theories of institutions as clusters of stable solutions to recurrent coordination problems can illuminate and explain some unresolved difficulties and problems adhering to institutional definitions of art initiated by George Dickie and Arthur Danto. Their account of what confers upon objects their institutional character does not fit well with current work on institutions and social ontology. The claim that “the artworld” confers the status of “art” onto objects remains utterly mysterious. The “artworld” is a generic notion that designates a sphere of human activity that involves practices that create goals that have led to the emergence of formal and informal institutions. But those institutions, rather than magically “creating” objects subjected to esthetic appreciation, merely solve familiar and ubiquitous coordination problems created by artistic activity in ways other institutions in other areas (science, religion, education…) solve similar and/or analogous coordination problems.

This paper contributes to the question to what extent the socio-cultural context is relevant for the appropriateness of emotions, while appropriateness of an emotion means that the emotion entails a correct, or adequate, evaluation of its object. In a first step, two adequacy conditions for theories of emotions are developed: the first condition ensures that the socio-cultural context is not neglected: theories must allow for the fact that appropriateness often depends on the social meaning of the emotion’s particular object. The second condition rules out implausible forms of cultural determinism. In a second step, an account that meets both conditions is presented: the Acceptance within Social Context account.