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Though all of the principal features of Rawls's definition of civil disobedience are in varying degrees unacceptable, one of these consists of the fertile but unargued suggestion that civil disobedience is a mode of address. The first half of the paper tests this by construing civil disobedience as a vehicle of non?natural meaning (but not necessarily of linguistic non?natural meaning) and so as operating the Gricean mechanism of a hierarchy of intentions and beliefs. This feature is absent from other definitions (...) but is essential if other kinds of conscientious illegality are to be contrasted. In the second half a definition is arrived at through rejections or modifications of the other Rawlsian conditions and by reference to some recent accounts of force and violence. It is hoped that the definition has the double advantage of being broadly congruent with our intuitions and of supplying a theoretical underpinning for what it includes and excludes. (shrink)

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ABSTRACT L. J. MacFarlane has contended that the right to strike is a keystone of democratic society. The right to strike is a right to free expression, association, assembly and power. And the right to strike is dependent upon the right to employment. MacFarlane denies that the right to employment is a universal right. I argue that unless the right to work is indeed universal MacFarlane's main contention is false. Forced unemployment is, amongst other things, the denial of full citizen (...) status, for the range of liberties that constitutes the right to strike is essential to full participation in democracy. It is only when the traditional liberty‐rights of free expression and striking are seen as being based upon such recipient rights as rights to media space and time and upon the right to work, that they can play their proper democratic role. This conception of those rights is missing from the work of Rawls and Nozick as well as from MacFarlane. (shrink)

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We talk of the differences between the old Camus and the new Camus. Often such talk is equivalent to talk of the differences between Camus’ old self and Camus’ new self, between Camus’ diachronous selves. In other contexts, contexts which I shall ignore, the old and the new Camus is something we can read, provide literary criticism of, ponder over. In these contexts it is to the literary works of the old and new Camus that we are referring. The same (...) kind of ambiguity attaches to the expressions ‘the early Beethoven’ and ‘the later Beethoven’. (shrink)

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