Monism, Pluralism and Relativism In this article I want to re-examine the issue of moral conflict and argue that certain explanations of this issue are particularly problematic in relation to the distinction between the concepts of the private, the
The Private, the Public and the Political
This paper considers three arguments by David Shugarman and Maureen Ramsay for why dirty hands cannot be democratic. The first argues that it is contradictory, in principle, to use undemocratic means to pursue democratic ends. There is a conceptual connection between means and ends such that getting one’s hands dirty is incompatible with acting in accordance with democratic ends. The second claims that using dirty-handed means, in practice, will undermine democracy more than it promotes it and therefore cannot be justified. The final criticism states that politicians with dirty hands are a sign that politics is no longer meeting the criteria necessary to be called democratic. The paper shows that such rejections of democratic dirty hands are based on misunderstandings of the nature of dirty hands and democratic politics.
Contra the prevalent way of thinking about the dirty-hands problem, this article suggests that dirty hands need not necessarily entail suffering and that a politician who does not suffer for his dirty-handed acts should not be cast as a bad politician. In so doing, the article: (i) argues that the connection between DH and suffering is unsatisfactorily totalising and rests on a contentious conception of conflict as a dysfunction and (ii) develops an alternative account of the good dirty-handed politician, which is associated with what proponents of the prevalent view of the problem find impossible: calm acceptance of – even indulgence in – one’s dirt. This recognition has important implications for our contemporary culture of contrition and for the way we evaluate the characters of our politicians.
. Hayden White has pointed to the role of myth in overcoming a catastrophe: “A mythic representation of a scene of disaster dramatises the scene by emplotting the events that occur thereon as effects, or rather as consequences, of a specifically moral