Comparatively speaking, philosophy has not been especially long-winded in attempting to answer questions about what is funny and why we should think so. There is the standard debate of many centuries’ standing between superiority and incongruity accounts of humor, which for the most part attempt to identify the intentional objects of our amusement.1 There is the more recent debate about humor and morality, about whether jokes themselves may be regarded as immoral or about whether it can in certain circumstances be (...) wrong to laugh.2 There is even apparently some disagreement about whether amusement is an emotion proper or a different kind of psychological attitude altogether. While I have almost despite myself taken .. (shrink)

Stephen Davies offers a compelling account of adornment as a form of aesthetic enhancement that aims either to intensify or to contribute to beauty and sublimit.

The starting point of this paper is a recent exchange in the Journal of Aesthetics and Art Criticism1 that pits moderate moralism against robust immoralism and has Humean antecedents. I will proceed by agreeing in part with both, but fully with neither, thereby annoying as many people as possible in one go. I believe, with Anne Eaton, the proponent of robust immoralism, that fictions which valorize what she calls "rough heroes" can arouse both aesthetically compelling and morally troubling reactions. On (...) the other hand, I argue that the troubling moral reaction targeted need not be a sufficient ground for attributing a moral flaw to the... (shrink)

ABSTRACT One of the standard defenses of Daniel Tosh, Andrew Dice Clay, Bernard Manning, and other stand-up comedians who have been accused of crossing moral lines is that the responses they elicit belong to an aesthetic rather than a moral domain to which standard methods of ethical evaluation are therefore inapplicable. I argue, first, that fictionality does not confer immunity to ethical criticism and, second, that the stance adopted by the stand-up artist is not fully analogous to a fictive one (...) in any event. Whatever the case with respect to the adoption of an alternative persona, the stand-up artist refers in his or her pronouncements to the actual world in a way that a fiction does not. That also suggests susceptibility to ethical criticism, just for different reasons. (shrink)

The contention that abortion harms women constitutes a new strategy employed by the pro-life movement to supplement arguments about fetal rights. David C. Reardon is a prominent promoter of this strategy. Post-abortion syndrome purports to establish that abortion psychologically harms women and, indeed, can harm persons associated with women who have abortions. Thus, harms that abortion is alleged to produce are multiplied. Claims of repression are employed to complicate efforts to disprove the existence of psychological harm and causal antecedents of (...) trauma are only selectively investigated. We argue that there is no such thing as post-abortion syndrome and that the psychological harms Reardon and others claim abortion inflicts on women can usually be ascribed to different causes. We question the evidence accumulated by Reardon and his analysis of data accumulated by others. Most importantly, we question whether the conclusions Reardon has drawn follow from the evidence he cites. (shrink)

This article responds to two ethical conundrums associated with the practice of disability passing. One of these problems is the question of whether or not passing as abled is morally wrong in that it constitutes deception. The other, related difficulty arises from the tendency of the able-bodied in contemporary society to reinforce the activity of passing despite its frequent condemnation as a form of pretense or fraud. We draw upon recent scholarship on transgender and disability passing to criticize and explore (...) some alternatives to the problematic theory of personal identity that is presupposed by the claim that passing as abled always amounts to deceit. We additionally demonstrate the moral indefensibility of society’s reinforcement of disability passing by showing that it may derive, at least in part, from ablest assumptions concerning distributive justice as it relates to disabled individuals. (shrink)

This essay offers an overview of the reasons why tattoos are philosophically interesting. Considered here will be a partial survey of potential areas of philosophical interest with respect to tattoos, fortified by a little historical context. Claims about the ethical significance of tattoos and about the significance of tattoos for self-expression and as expressions of identity will be canvassed in the first two sections, as will questions about what they express or signify, how they might do so, and whose expression (...) we might take it to be. The final sections will address the contention that at least some tattoos are art and will raise various considerations about their closest analogs as well as their authorship. Although it will be argued that analogs can be found between tattoos and works recognized as art, it will also be maintained that tattoos raise unique aesthetic issues for consideration. (shrink)

Beatrice. Jane Tennison. Elizabeth Bennett. Arya Stark. Katniss Everdeen. None of them is real. All of them appear not only to engage our interest but also to move us. Some of them might even be thought to affect us further—to inspire us to do things, or at least to regard things in a different light. The set of problems typically grouped under the designation “paradox of fiction” raises questions about an apparent contradiction, about our responding emotionally to entities and events (...) in the existence of which we do not believe. The kind of ontological incorrectness to which the paradox draws attention can be directly and indirectly related to a number of interesting explanations and corollary claims about our.. (shrink)

If philosophers held popularity contests, David Hume would be a perennial winner. Witty, a bon vivant, and champion of reason over bigotry and superstition, it is not surprising that many contemporary thinkers want to recruit him as an ally or claim his views as precursors to their own. In the debate over the moral content of artworks and its possible relevance for artistic and aesthetic value, the group whose views are known variously as “ethicism,” “moralism,” or “moderate moralism” has claimed (...) Hume as one of its own.1 Very briefly, “moderate moralism” is the view that sometimes the moral content of artworks must be taken into account when assessing artistic or aesthetic value. The moralists’ presumed . (shrink)

What does it mean to hold that the significant aspects of a literary passage cannot be captured in a paraphrase? Does a change in the description of an act "risk producing a different act" from the one described? Using Jane Austen as an example, we'll consider whether her use of metaphor and symbol really amounts to calling someone a prick, whether her narrative voice changes what it is that is expressed, and whether comedy can hold just as much significance as (...) tragedy without all the heavy breathing. (shrink)

This chapter contains sections titled: I II.

Over the past few years, over a dozen states have proposed, and almost as many have passed, something referred to as the Pain-Capable Unborn Child Protection Act, a piece of legislation that makes abortion impermissible once fetal pain is possible and that further stipulates the fetus can feel pain at or before 20 weeks of gestation. Some very important questions immediately relevant to the abortion debate, perhaps even to the more complex issue of fetal rights, are raised by this legislation, (...) especially because it would impinge on the second-trimester abortion rights guaranteed by Roe. We first inquire whether the claim of fetal pain perception at or before 20 weeks is true and how such a claim should be substantiated. Next, we inquire whether the fetal capacity to experience pain, at whatever stage of development, reflects on the morality of abortion and whether it should be at all relevant to determining its legality. Finally, we would like to explore the implications that a commitment to a pain-related or sentience criterion of rights might have for a pro-life agenda. (shrink)

A compelling exploration of the convergence of Jane Austen’s literary themes and characters with David Hume’s views on morality and human nature. Argues that the normative perspectives endorsed in Jane Austen's novels are best characterized in terms of a Humean approach, and that the merits of Hume's account of ethical, aesthetic and epistemic virtue are vividly illustrated by Austen's writing. Illustrates how Hume and Austen complement one another, each providing a lens that allows us to expand and elaborate on the (...) ideas of the other Proposes that literature may serve as a thought experiment, articulating hypothetical cases which allow the reader to test her moral intuitions Contributes to ongoing debates on the philosophy of literature, ethics, and emotion. (shrink)

Many philosophers maintain that works of art, in particular films and novels, cannot function as thought experiments. Most who claim this make their case by setting the bar for what can count as a philosophical thought experiment very high. It is argued here not that these positions are necessarily mistaken, but that there is a large gray area that is seldom acknowledged between what counts as a philosophical thought experiment narrowly defined and what counts as “being used to illustrate a (...) philosophical point,” where the fiction is imported into an already complete external argument. I contend that these are not the only alternatives available, that intuition pumps and variant case arguments provide better grounds for comparison than has been acknowledged, and that there are uses to which filmic illustrations in particular may be put that make distinctive and cognitive contributions of their own. In the course of making this case, it is stressed both that emotional response has clearly cognitive aspects and that many thought experiments with lower stakes rely on eliciting emotional response. (shrink)

There is a resurgence of Aristotelian concerns in philosophical approaches to tragedy in the eighteenth century. The philosophical literature of the period is rife with proposed solutions to the problem of the delightfulness of imitations of undelightful things and to the more specific problem of tragic pleasure. The latter include attempts to identify different objects of our pleasure and uneasiness as well as distinct attempts to explain how it is that pleasure can depend on such uneasiness. These areas of concern (...) are most likely not unrelated to growing philosophical interest in the sentiments and in spectator response. Many of the solutions canvassed here have stood the test of time to reemerge unscathed and only marginally altered in the philosophical literature of the present day. (shrink)