This book considers the nature and exercise of moral imagination in situations in which our ability to act and choose meaningfully is limited by unarticulated expectations. Moral imagination is a cognitive attitude, in which we regard propositions as true. But it also involves orientation. In moral imagination, we regard propositions as true in order to make something else true, and we act and interpret as if it were true. The demand for explanatory unity in such situations - what I call 'explanatory burden' - involves self-constitution, with seeing oneself as a certain sort of person and developing relevant expectations. Whereas it is common to define human well-being in terms of choice and capacities, I suggest that meaningful choice and human capacities are sometimes defined in terms of the actual pursuit and achievement of human well-being. I draw upon examples from literature, film, and historical narrative to suggest that while we think autonomy and agency consist, at least in part, in taking control, we must sometimes be controlled by circumstances and relations in order to occupy an appropriate interpretive perspective for real freedom. I consider the implications of this point for such concepts as respect, friendship and democracy.

Scherkoske situates integrity as an epistemic virtue and moves the debate surrounding impartial moral theories in important new directions.

Four decades ago Tom F. Driver brought theater into discussion with religion and modern theology. It has been a rich ongoing dialogue, but one that now demands a bold new engagement. In Theater and Integrity, Larry D. Bouchard argues that while the “antitheatrical prejudice” regards theater as epitomizing the absence of integrity, theater’s ways of being realized in ensembles, texts, and performances allow us to reenvision integrity’s emergence and ephemeral presence. This book follows such questions across theatrical, philosophical, and theological studies of moral, personal, bodily, and kenotic patterns of integrity. It locates ambiguities in our discourse about integrity, and it delves into conceptions of identity, morality, selfhood, and otherness. Its explorations ask if integrity is less a quality we might possess than a contingent gift that may appear, disappear, and perhaps reappear. Not only does he chart anew the ethical and religious dimensions of integrity, but he also reads closely across the history of theater, from Greek and Shakespearean drama to the likes of Seamus Heaney, T. S. Eliot, Caryl Churchill, Wole Soyinka, Tony Kushner, and Suzan-Lori Parks. His is an approach of juxtaposition and reflection, starting from the perennial observation that theater both criticizes and acknowledges dimensions of drama and theatricality in life.