In lieu of an abstract, here is a brief excerpt of the content:Paul Woodruff ROUSSEAU, MOLIÈRE, AND THE ETHICS OF LAUGHTER Rousseau attacks comedy on the grounds that it is bad for our morals. He tries to show that to make a comedy moral is to take the fun out of it. No one would deny that some jokes are bad, and bad for us. But I think Rousseau is mistaken in his belief that the fun of comedy (...) depends on the bad sort of joke. In this essay I examine the ethics of laughter and the techniques of comedy, and find them rooted in a common metaphysics of human nature. It turns out, if I am right, that the most effective comic techniques are the most innocent. A comic playwright can make us laugh at almost anything, even at things that unsettle or horrify us outside the theater. Surprised by our own laughter, we are grateful to see our bugbears turned ridiculous. But what if we find ourselves laughing at virtue in the theater, and are shocked by our own laughter? Laughter, it seems, can be elicited to good or bad effect, depending on the nature of its object. And even towards the same object there can be good and bad laughter. An ethnic joke can be told in a way that brings warm laughter, bridging impossible gulfs, or it can be told in a racist way, with unforgivable laughter driving us apart. Comic playwrights are dangerous people. Plato thought them so (though not so dangerous as tragedians) and argued for restrictions on the use of ridicule. It should always be good-natured, he says in the Laws, and ought never to be directed against citizens.1 Rousseau goes beyond this. In his Letter to M. d'Alembert on the Theater2 he appeals to the danger of comedy as he vehemently defends Geneva's law against theater. Comedy, he argues, must be bad for our morals, or be nothing but a dull sermon. We must not dismiss Rousseau's critique of comedy lightly. Rousseau 325 326Philosophy and Literature was fascinated by the theater, and particularly by Molière, whom he admired as the grand master of comedy. And he knew something of what he admired and why he admired it. He had tried his hand at writing comedy and comic opera. He was not without a sense of humor (as readers of his Confessions are well aware), and he had ideas about how audiences are made to laugh. So it is not out of ignorance that he writes of comedy, "It is all bad and pernicious;... since the very pleasure of the comic is founded on the vice of the human heart,... the more the comedy is amusing..., the more its effect is disastrous for morals." At best, comic playwrights "make fun of vices without making virtue loved." At worst, like Molière in the Misanthrope, they make fun of virtues. Molière's misanthrope, Alceste, is a good man; so good, indeed, that no audience could be comfortable with him. So to please the audience (says Rousseau) Molière is forced to make Alceste ridiculous by adding to his scrupulous honesty a disposition to childish rages, thereby reenforcing the audience's corrupt belief that virtue in the extreme is foolish. But why could the play not be turned to virtuous effect, and Alceste's foils be made ridiculous in his place? Rousseau shows us what changes he thinks would have to be made—they reduce a great comedy to a dull sermon. Rousseau concludes that the same play cannot both make us laugh and be good for our morals.3 This radical case against comedy rests on two principles. First, as an audience we want only to find bad characters exciting and good characters amusing, so that successful comedy must make us laugh at good characters. Second, when we laugh at good characters in comedy, we do so without sympathy; by laughing at them we repudiate their example. Rousseau thinks it comforts us to laugh at Alceste in the Misanthrope because it enables us to set aside an example of immaculate honesty that would otherwise make us ashamed of our own deficiencies. Such laughter, he argues, is bad for... (shrink)

Laughter as superiority -- The elements of laughter -- The one necessary thing -- Objections to the normative thesis -- Comic virtues and vices -- The social virtues -- The charismatic virtues -- Machine law -- Machine scholarship -- Machine art and machine cities -- The battle of the norms -- Resistance to laughter -- The sociability thesis -- Conclusion.

This book assesses the adequacy of the traditional theories of laughter and humor, suggests revised theories, and explores such areas as the aesthetics and ethics of humor, and the relation of amusement to other mental states. Theories of laughter and humor originated in ancient times with the view that laughter is an expression of feelings of superiority over another person. This superiority theory was held by Plato, Aristotle, and Hobbes. Another aspect of laughter, noted by (...) Aristotle and Cicero and neglected until Kant and Schopenhauer developed it into the incongruity theory, is that laughter is often a reaction to the perception of some incongruity. According to the third and latest traditional theory, the relief theory of Herbert Spencer and Freud, laughter is the venting of superfluous nervous energy. Historical examples of all these theories are presented along with hybrid theories such as those of Descartes and Bergson. The book also features traditional explorations of the place of humor in aesthetics, drama, and literature. This is the first work in the last fifty years to include the classic sources in the philosophy of humor and the first to present theories by contemporary philosophers. (shrink)

There are several strategies for exposing the defects of established moral discourse, one of which is critical argumentation. However, under certain specific historical circumstances, the apparent self-evidence of established moral discourse has gained such dominance, such a capacity of resistance or incorporation, such an ability to conceal its basic vulnerability that its validity simply seems beyond contestation. Notwithstanding the moral subject’s basic discontent, he or she remains unable to challenge the dominant discourse effectively by means of critical argument. Or, to (...) borrow a phrase from Michel Foucault, individuals find themselves faced with a certain rationality, a moral regime that dominates moral discourse to such an extent that they cannot offer any resistance without raising the suspicion of being unreasonable. They (that is, we) find ourselves confronted with a discourse quite unable to recognize its own deficiencies. Although we are forced to accept its basic claims, our chronic discontent nevertheless persists. That is, although we are forced to participate in this discourse, we remain basically ambivalent, and our attitude towards established morality contains both a Yes and a No. Then, all of a sudden, the basic vulnerability of the dominant regime dawns on us or is revealed to us – and this is the experience of laughter. (shrink)

This anthology is a result of the editor's courses in the philosophy of laughter and humor. The book is divided into two sections, roughly equal in length. The first presents the "Traditional Theories of Laughter and Humor," in chronological order from Plato to Bergson. The second section consists of contemporary treatments and is further divided into "Contemporary Theories of Laughter and Humor", "Amusement and Other Mental States", and a final problem, "The Ethics of Laughter and (...) Humor". (shrink)

Using the work of Emmanuel Levinas, this article sheds light on Charlie Chaplin's The Circus, a piece that so far eluded the critics, despite its immense popularity with theater viewers. I show that it is not Chaplin's lack of inventiveness that makes the Tramp risk his life on the tightrope 'for nothing'. It is, on the contrary, Chaplin's intuitive sense that makes him believe, anticipating Levinas, that it is human and simple for a person to help another for no benefit. (...) It is this point that cinema-goers understood more easily than we, scholars, may think. Starting with The Circus I demonstrate that this film, which critics have underestimated due to its 'pointless' ending, becomes meaningful once interpreted as promoting radical for-the-other ethics. My argument about The Circus is supported by close reading as well as Chaplin's own remarks and his later talkie Limelight in which similar ideas are expressed more openly through language and through the ending scene, with the protagonist dying on stage, to the sounds of roaring laughter of the audience. (shrink)

The traditional concern of the academic literature on the ethics of humor is to determine whether ethical considerations influence comic amusement or, in other words, judge the impact of ethics over aesthetics. For some, ethically questionable dimensions bear no implication for the effectiveness of jokes; for others, they do, but this group disagrees on whether ethical problems make jokes less or more funny. This article attempts an alternative approach and explores the occurrences in which the aesthetic reaction to (...) humor reveals a more profound ethical commitment. It asks: What are the conditions under which laughter resulting from comic amusement reflects the moral stance of an individual? Or, more simply: Can one judge a person's character based on what this person is laughing at? The article starts by showing how humor can legitimately be taken as representative of the individual spirit, continues by identifying the subsection of humor that can offer an affirmative answer to the posed questions, highlights the power dynamics at play within this subsection of humor to justify its characterization as “fascist,” and concludes by offering guidance on identifying fascist laughter. (shrink)

This article discusses the very common moral guideline “Punch up, do not kick down.” Our approach is based on humanistic ethics, and through rigorous philosophical analysis, we will show that while the guideline is commendable and well-intentioned, it does not work as a universal rule and should not be used as an ideological tool. Due to the complexity of our social reality and the fluid nature of hierarchies, there may be cases when punching up is problematic, and kicking down (...) is acceptable. Our theoretical addition to the current ethics of humor is that we propose humor should be evaluated in terms of inclusivity and exclusivity as well. In this, Charles Taylor’s concept of strong evaluation will be indispensable. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics for a Layered SelfLaughter, Reciprocity, Generosity, HomeCynthia WillettI can imagine no better way to respond to these insightful readings than to turn the spotlight on the important books that Ann Murphy and Megan Craig have written on affect and ethics! Craig’s book, Levinas and James: Toward a Pragmatic Phenomenology, weaves radical empiricism into phenomenology as only a philosopher who is also an artist could. Her evocative (...) queries on prereflective affects, perception, and ethical attunement shed light on the role of moods for unsettling rigid ego boundaries, ethical subjectivity, the feeling of being alive, the audible dimension of ethical encounters, life beyond a struggle to survive, temporality, and ethical ambiguity. These themes are compelling for any postmoral ethics that operates beyond or below the register of modern moral theory’s abstract laws and transparent cogitos. Her work balances an ethical concern for vulnerability with a vital regard for the vibrancy of living creatures and landscapes.Ann Murphy’s Violence and the Philosophical Imaginary illuminates philosophical questions with an abiding lucidity that does not weaken but amplifies the complexity and difficulty of ethics. Murphy’s work exposes how tropes of violence saturate philosophical discourses of both identity formation and of political and historical transformation, and how this violence, embedded in norms, denies sympathetic concern to those outside the limits of cultural intelligibility. Building upon recent work by Judith Butler, Adriana Caverero, and others, Murphy addresses the ambiguities arising from the multiple responses that exposure to vulnerability provokes. These responses can signal care but [End Page 70] they can also manifest violence. Even as she acknowledges the complex underside of cultural intelligibility, Murphy affirms sympathy and generous concern as paradigmatic virtues to be cultivated in response to various forms of violence. She probes the significance of shame and guilt for collective responsibility, ever alert to alterity and difference. With attentive care to the singular contributions of a broad range of philosophers and critical traditions, she argues compellingly for a corporeal ethics grounded on the ontological fact of vulnerability.Through their work, Murphy and Craig pose astute questions for my project, and, in fact, for any endeavor to conceptualize an ethics attentive to an embodied sociality. I describe the multifaceted approach I contribute toward this task as a call and response ethics for a layered self. Craig wonders if the more basic feature before any “call” is contact, touch, or immersion. She notes my concern that “any purported gap or abyss between humans and animals has less to do with unique human capacities than with the rise of urban centers and the loss of contact with other species.” Harm arises from a loss of contact. This is so true. Ethics as contact calls attention to the poetry of proximity, to erotic waves that transmit through the sound or feel of the other’s breath, the heat of the body, and the smell of the skin. This intense proximity serves as a compelling source for ethical sociality, resonating in some respects with what Merleau-Ponty explores as the sense of flesh and touch and, as Murphy suggests, a transcendental eros. This contact is as primal and ordinary as the skin-to-skin contact of caregiver and infant or, perhaps, the skin-to-hair contact of a terrier and her human companion, lost for a moment in inexplicable laughter. From these observations, Craig asks if “call and response” as a locution or central designation adequately captures the intimacy and intensity of these engagements.Craig’s remarks raise the further question of what is at stake in designations or phrasings. An ethics of call and response, designated as such, emerges from phenomenological but also crucially Africana and critical theory traditions. As a relational ethics, this ethics of call and response highlights social relations and expectations, opening a path outside of what Murphy characterizes as the trifecta of virtue ethics, deontology, and utilitarianism. It attends to desire (eros) beneath, in between, and above the prescriptive rules of moral reason or the interests of individuals. At its center are social bonds (friendship and companionship, community and domination, love, hate, and other social emotions, belonging and alienation, and the conflicts of groups and reconciliation) rather... (shrink)

I distill three somewhat interrelated approaches to the ethical criticism of humor: (1) attitude-based theories, (2) merited-response theories, and (3) emotional responsibility theories. I direct the brunt of my effort at showing the limitations of the attitudinal endorsement theory by presenting new criticisms of Ronald de Sousa’s position. Then, I turn to assess the strengths of the other two approaches, showing that that their major formulations implicitly require the problematic attitudinal endorsement theory. I argue for an effects-mediated responsibility theory , (...) holding that the strongest ethical criticism that can be made of our sense of humor is that it might indicate some omission on our part. This omission could only be culpable in so far as a particular joke could do harm to oneself or others. In response to Ted Cohen’s doubts that such a mechanism of harm is forthcoming, I argue that the primary vehicle of the harmful effects of humor is laughter. (shrink)

In the course of remarking on the “parodic” nature of Nietzsche’s “doctrine” of Eternal Return, Klossowski writes of “laughter, this infallible assassin.” (Amir 2021, 272) The laughter of homo risibilis does not err in its elimination of human despair, nor does it errantly dispose of any other portion of human existence. A question that I will develop over the course of these remarks is the question of this assassination by laughter: what, precisely, is assassinated? and, what might (...) be lost in such an assassination? In pursuing this question, I want to explore the temporal overlap between the academic acceptance of Nietzsche in France in the early 1960s and the discussion of Spinoza in France at the same time—a discussion that was closely linked to the Holocaust—in order to raise the question of the relation of humor and history. -/- My question to Prof. Amir is: do laughter and humor have a role to play even in the face of world-shattering wrongs? In her account of homo risibilis and in her account of Nietzsche’s philosophy of laughter and its French inheritors, the focus seems squarely on the present and the future. Deleuze’s laughter is that of the human being who has embraced fate but also of the individual who, with their laughter, would overturn norms and conventions. Prof. Amir writes that “Deleuze … focuses on the iconoclastic force of humor, its capacity to break any boundary or law.” (Amir 2021, 282) But is such a focus recalcitrant to ethical efforts to reckon with past evils and injustices? In the overcoming of the tragic by the comic, is there room for remembrance? Is there room for honor to be paid to history? Or, are laughter and humor a-historical forces—is laughter, after all, in Klossowski’s words, an infallible assassin? Is no historical event secure from its transformative and iconoclastic work? -/- . (shrink)

While the loss of the second book of the Poetics has deprived us of Aristotle’s most extensive account of laughter and comedy, his discussion of eutrapelia (wittiness) as a virtue in his ethical works and in the Rhetoric points toward the importance of humor for his ethical and political thought. This article offers a reconstruction of Aristotle’s account of wittiness and attempts to explain how the virtue of wittiness would animate the everyday interactions of ordinary citizens. Placing Aristotle’s account (...) of wittiness in dialogue with recent work within the ethical turn in contemporary political theory can help articulate what a late-modern ethos of democratic laughter might look like. (shrink)

Filipino lakas tawa, with examples drawn from the 1986 Filipino revolution, is interfaced with lament based on the Book of Lamentations with parallel examples from W. E. Burghart Du Bois’s “A Litany at Atlanta.” This interfacing is brought to bear on the article’s central thesis: Lakas tawa and lament are two ways of being and doing in the face of suffering and death, but are intrinsically woven into the tapestry of one human reality. They are two paths of resistance, both (...) deeply connected to faith and religion, though in different ways. Where they converge and diverge, they have the power to subvert oppressive systems and the potential of transforming them. (shrink)

This article tries to defend the position that Holocaust Education can be enriched by appreciating laughter and humor as critical and transformative forces that not only challenge dominant discourses about the Holocaust and its representational limits, but also reclaim humanity, ethics, and difference from new angles and juxtapositions. Edgar Hilsenrath’s novel The Nazi and the Barber is discussed here as an example of literature that departs from representations of Holocaust as celebration of resilience and survival, portraying a world (...) in which lies, hatred and violence are still perpetuated. Because of its transgressive qualities, Hilsenrath’s narrative of the Holocaust as a satire with elements of black comedy can offer pedagogical openings for using laughter to interrupt normative constructions of the Holocaust as an unspeakable and sacred event that lies outside history, and thus beyond the capacities of human understanding. It is argued that laughter is an important modality for inviting deep thinking about the Holocaust, to move it from a transcendent phenomenon to an immanent event, situated clearly in the realm of human action and worthy of understanding so as to prevent it from happening again. (shrink)

In most academic works laughter is praised because of its social, religious, and psychological benefits. However, when laughter’s morality has been historically discussed it usually has been condemned. To assign human responsibility to the act of laughing, it must be acknowledged as voluntary. However, studies indicate that laughter is not a voluntary action, but rather a neurophysiological reaction. If this is so, there is no basis on which to ground the moral relevance of laughter. In this (...) article, I will put forward an argument that can help to ground the ethics of spontaneous laughter at least. I claim that humans have the power to avoid laughing or suspend it because they can voluntarily prevent some of the circumstances that are necessary for it to happen. If humans fail to do so when they are expected to, laughter becomes relevant as a kind of negligent omission. (shrink)

This article begins by reviewing the overwhelmingly negative assessment of laughter and humor in Western philosophy and in Christianity, arguing that that evaluation arises from a misclassification of amusement as a malicious emotion. It then sketches a play theory of humor in which humor is an activity pursued for pleasure which allows participants to violate linguistic and social norms, especially rules about sincerity. Once we understand humor as a kind of play, familiar ethical objections to jokes based on gender (...) and race are seen to be mistaken, and a new approach to the negative ethics of humor becomes possible. What is more, this play theory also explains how humor is morally praiseworthy in many situations. (shrink)

Over the last three years I have been fortunate to teach an unusual class, one that provides an academic background in ethical and social and political theory using the medium of comedy. I have taught the class at two schools, a private liberal arts college in western Pennsylvania and a public regional state university in southern Georgia. While the schools vary widely in a number of ways, there are characteristics that the students share: the school in Pennsylvania had a large (...) population of students raised in a middle class industrial context, and the school in Georgia had a majority of students from middle-to-lower class agricultural backgrounds. Because of recent collapses in the economy of the tool and dye industry in the Great Lakes region, and the ongoing concerns for development in rural and urban areas of the southeastern United States, both groups of students were in similarly dire economic and working conditions. All faced the distinct possibility that they would not do as well in life as their parents. Most of the students grew up with television and film and had a love of comedy when they arrived at college. -/- Entertainment and mass media contributed to the students' mindset and the lens through which they viewed and interpreted their lived experience. Comedic mass media in the form of television sitcoms and films were common choices for inexpensive entertainment, in their childhood, in their past, in their homes, and now in their college dorms and apartments. In asking students to connect their own history with cultural trends depicted in comedy in film and television, even through the history of television, gave the students a familiar venue to critically consider their own intellectual growth and development and that of American society as a whole. -/- Many of them were familiar with the internet, and enjoyed the internet as a source of information about celebrities as well as the history and episodes of their favorite television shows and films. Students are rediscovering and discovering television programs that their professors may have watched as children, with the availability of a wide range of comedy television programs available on cable, especially TVLand, Comedy Central and Nick-at-Night. -/- In this article I will elaborate on the value of comedy as a teaching tool for philosophers and professors. I will provide a number of examples, showing how comedy can provide fertile examples of ethical theory at work, and I will show how comedy can be used to clarify cultural norms and values. Finally, I will discuss the political activism and student empowerment involved in teaching Philosophy, Comedy and Film in southern Georgia. (shrink)

The films of Bruno Dumont are tied to unwatchability, austerity, and a post-theological seriousness. Recently, however, Dumont has taken a surprising turn towards comedy; and yet these comedies are not without the post-theological despair that characterizes his earlier films. Taking Dumont's comedy seriously, this article frames Dumont's comedic turn not as a deviation but rather as a realignment that requires retroactive reconsideration of his oeuvre's post-theological orientation. We interrogate the philosophical implications of laughter in Dumont's work and argue that (...) it suggests a new trajectory for the post-theological project. The work of Georges Bataille anchors our analysis of violent laughter, while Jean-Luc Nancy's post-theology structures our central argument. We read Nancy's post-theology into the construction of space and subjectivity in Dumont's earlier works, which characterize both human characters and the landscapes they inhabit with a pervasive sense of depthlessness or blankness. These features of absence often lead spectators to project emotions onto Dumont's characters, but we stress this blankness as foregrounding the essential unknowingness of the subject – something which also drives Bataille's notion of laughter. For Bataille, laughter is rooted in nonknowledge, it is a non-productive expenditure that exposes the limits of human existence. It is this horizon of death and nothingness that drives Dumont's comedies. Understood through post-theological laughter, Dumont's comedic films and TV series provide new ways of accounting for the death of God. This laughter in turn operates retroactively to productively reframe post-theological violence in his work. In short, this article contends that none of Dumont's films are meant to be taken seriously. Confronting the ethical and philosophical implications of Dumont's comedic turn, this article investigates the implications of reading his oeuvre through this divinely absurdist, post-theological comedic lens and articulates a theory of post-theology that foregrounds the radicality of laughter. (shrink)

This article argues that the example of laughter continues to trouble the human/machine binary that so many have troubled, from Descartes to Zupančič. Sounding various objects of “recorded” laughter through psychoanalytic tweeters, deconstructive warps, and object-oriented woofers implicates ontology as so much noise for the projection of certainty. Derivatively speaking, I argue for the primacy of a rhetorical ethics.

"Ancient philosophers were very interested in the themes of laughter, humor and comedy. They theorized about laughter and its causes, moralized about the appropriate uses of humor and what it is appropriate to laugh at, and wrote treaties on comedic composition. Further, they were often merciless in ridiculing their opponents' positions, often borrowing comedic devices and techniques from comic poetry and drama to do so. The volume is organized around three themes that were important for ancient philosophers: the (...) psychology of laughter, the ethical and social norms governing laughter and humor. and the philosophical uses of humor and comedic technique"--. (shrink)

Extant research has identified various effects of leader humor on subordinates and work groups. In contrast, less research has explored the influence of leader humor on leaders themselves and leaders’ subsequent behaviors. To address these issues, we drew from ego depletion theory and investigated when and how leader humor impacted leader workplace deviance. We argued that leader humor along with high impression management motive would bring increased ego depletion to leaders themselves and ultimately result in more leader workplace deviance. We (...) tested our theoretical model using a three-wave time-lagged field survey data collected from 103 leaders and 595 subordinates, as well as an experiment involving 487 leader participants, which provided overall support for our hypotheses. Our findings revealed the possible dark side of leader humor influencing both leaders themselves and organizations. Theoretical contributions and new avenues for future research are addressed. (shrink)

After considering core ‘interruptions’ of identity and justice in the post-secularist agonisms of Connolly and Levinas, I mine their views for core practical insights about the possibilities for theist-atheist respect. After considering Connolly on ‘content v. comportment’ and after exploring the virtue of mystery as part of a mystery/contestability/generosity triad, as well as Connolly’s, Levinas’, Nietzsche’s and Bergson’s levels of optimism and pessimism about theism, I end by pointing to cracks in Connolly’s path to pluralism, and I recommend that the (...) ‘open and trembling’ mood of Levinas’ phenomenology serves as an important model for the kind of generous comportment that atheists and theists need on our path to respectful agono-pluralism. (shrink)

This book offers an analysis of humor, comedy, and laughter as philosophical topics in the 19th Century. It traces the introduction of humor as a new aesthetic category inspired by Laurence Sterne’s "Tristram Shandy" and shows Sterne’s deep influence on German aesthetic theorists of this period. Through differentiating humor from comedy, the book suggests important distinctions within the aesthetic philosophies of G.W.F. Hegel, Karl Solger, and Jean Paul Richter. The book links Kant’s underdeveloped incongruity theory of laughter to (...) Schopenhauer’s more complete account and identifies humor’s place in the pessimistic philosophy of Julius Bahnsen. It considers how caricature functioned at the intersection of politics, aesthetics, and ethics in Karl Rosenkranz’s work, and how Kierkegaard and Nietzsche made humor central not only to their philosophical content but also to its style. The book concludes with an explication of French philosopher Henri Bergson’s claim that laughter is a response to mechanical inelasticity. (shrink)

This essay meditates on the short film American Reflexxx and the violent laughter directed at a non-trans woman in public space when she was assumed to be trans. Drawing from work on the ideological and institutional dimensions of transphobia by Talia Bettcher and Viviane Namaste, alongside Sara Ahmed's writing on the cultural politics of disgust, I reverse engineer this specific instance of laughter into a meditation on the social meaning of transphobic laughter in public space. I then (...) look at racialized transphobic laughter directed against Tyra Hunter and Miriam Rivera to emphasize transmisogynist laughter as a denial of contact, intimacy, and care. Building on Kate Manne's work on misogyny, I conclude that a key aspect of transmisogyny is the use of transfeminine people as a source of dehumanized, disavowed, and disposable care and intimacy. Laughter and accompanying violence against trans women serves to reinforce this dynamic. (shrink)

In two very influential papers from 2008, Tamar Gendler introduced the concept of “alief” to describe the mental state one is in when acting in ways contrary to their consciously professed beliefs. For example, if asked to eat what they know is fudge, but shaped into the form of dog feces, they will hesitate, and behave in a manner that would be consistent with the belief that the fudge is really poop. They alieve that it is disgusting, while they believe (...) it is not. This paper investigates laughter from self-proclaimed egalitarian, tolerant folk, in response to oppressive jokes that might fit the alief-model. If I merely alieve the content of a joke at which I laugh, will that constitute morally exculpating reasons for such laughter? And what else might it imply? This paper will provide insights at the intersections of humor studies, ethics, epistemology, phenomenology, and the philosophy of mind, all while being moderately and appropriately amusing. (shrink)

Interspecies Ethics explores animals' vast capacity for agency, justice, solidarity, humor, and communication across species. The social bonds diverse animals form provide a remarkable model for communitarian justice and cosmopolitan peace, challenging the human exceptionalism that drives modern moral theory. Situating biosocial ethics firmly within coevolutionary processes, this volume has profound implications for work in social and political thought, contemporary pragmatism, Africana thought, and continental philosophy. Interspecies Ethics develops a communitarian model for multispecies ethics, rebalancing the (...) overemphasis on competition in the original Darwinian paradigm by drawing out and stressing the cooperationist aspects of evolutionary theory through mutual aid. The book's ethical vision offers an alternative to utilitarian, deontological, and virtue ethics, building its argument through rich anecdotes and clear explanations of recent scientific discoveries regarding animals and their agency. Geared toward a general as well as a philosophical audience, the text illuminates a variety of theories and contrasting approaches, tracing the contours of a postmoral ethics. (shrink)

In this dissertation, I argue that psychology is central to the meaning and purposes of Nietzsche's work. Rather than suspending all ethical judgment or upholding a universal morality, Nietzsche offers models of psychological strength: the teaching of eternal return, the ethics of enemy love, laughter, and his own writing. In Nietzsche's models for psychological strength, my interpretation finds the basis for separating him from both those who find in Nietzsche the roots of totalitarian politics and those who find (...) in Nietzsche's view of the self a playful creativity they suppose supports liberal individualism. ;Through the deficient model of the free spirit of Beyond Good and Evil, I examine the role of honesty in Nietzsche's work and its confrontation with the need for appearances and masks. Through a careful examination of Thus Spoke Zarathustra, I explore the search for a human meaning for the earth, the problem of revenge, the psychological importance of the teaching of eternal return, and its ethical implications. While Zarathustra begins by teaching the Uebermensch, this empty teaching of creativity gives way to the problem of revenge and the need for a new form of redemption. The teaching of eternal returns seeks to overcome the problem of revenge by reconciling the will with the past, freedom with necessity, and the desire for immortality with the temporal character of human life. I argue that the psychological meaning of eternal return takes priority to its cosmological claims and that this teaching encourages an ethics of enemy-love, internalized as self-overcoming. Nietzsche's use of comedy exhibits the possibility of the internal split that combines the capacity for self-knowledge with the possibility of self-overcoming. I argue that Nietzsche stands above his character Zarathustra who teaches doctrines and that his writing manifests such an internalized split, the self-challenging that makes possible philosophy that does not collapse into dogmatism. His autobiographical Ecce Homo takes a comic form to encourage this split, appeal to a democratic audience, and to exemplify Nietzsche's distance above his own characters and their doctrines. Nietzsche thus succeeds where his character fails by offering indirect communication that makes possible the partial connection necessary for political life and by maintaining the distance from his doctrines necessary for new challenges and continued thought. (shrink)

Yes, this is the book that those who know Ronald de Sousa have been waiting for. Since long before his 1979 Dialogue article, there has been much interest in what de Sousa thinks about the rationality of emotions. Many promises are here fulfilled.In our traditional patriarchal philosophy, the standard view is that reason ought to be the controlling element in human nature. Commonly in this tradition, emotion is considered an opposing force—a female power allied with the irrational, and devoted to (...) dragging men from attending to the clarity and truth which are the proper objects of their devotion. In contemporary anglophone philosophy, the distinction between reason and emotion reached a certain pitch in emotivist accounts of ethics. Recently, beginning with the critique of emotivism, there have been gestures of revision to these views of how emotions are related to reason. Bernard Williams hinted at rethinking the traditional relationship when he remarked that, “the capacity for creative emotional response has the advantage of being, if not equally, at least broadly, distributed”. (shrink)

What so many readers—whether "sensitive and intelligent" and comprising "generations" I do not know—have found in Fiction and the Shape of Belief is sheer delight in the rigor and shrewdness of the argument. The most formidable part of Sacks' book is precisely what one would at first necessarily consider the soft spot: the relations of "belief" to fictional form. If one allows the assumptions about a stable and controllable language implicit in the argument and then perhaps substitutes a Boothian term (...) like "implied author" for "Fielding," the demonstrations are irresistible. Sacks sets himself the job of trying to "formulate a theory about a constant and necessary relationship between the ethical beliefs of novelists . . . and novels" . He works his way through various possibilities largely by means of eliminating the crude and the obvious. The question "What must Fielding have believed to have created such a character or devised such a situation?" is at first answered by "Almost anything." We can infer little directly about belief from "situation characters"; we must be very careful not to regard the speeches of paragon characters as "isolable topical essays" . While the model of a novel presented to us is "constructed," architectural, and therefore undynamic, it is also highly complex. The process of making inferences from the relations between parts and between the parts and the whole, of comparing signals with other signals, is delicate indeed. Sacks' method is to lead us gradually toward more and more complex formulations of belief, blocking easy answers and forcing us to take more and more into account. He is gracious toward but has little interest in historical or biographical evidence that would bear on the question of belief; his subject is relentlessly formal. The central concern—"How can any novelist embody his beliefs in novels?"—is focused on "how," on the manipulation of formal devices, not on the content of that belief. Once inside the system, one can do little but cheer. James R. Kincaid is professor of English at the University of Colorado at Boulder. The author of Dickens and the Rhetoric of Laughter, Tennyson's Major Poems: The Comic and Ironic Patterns, and The Novels of Anthony Trollope, he is currently writing a book on narrative structures and the question of coherence. His previous contributions to Critical Inquiry are "Coherent Readers, Incoherent Text" and "Pluralistic Monism". (shrink)

An important objection to political liberalism is that it provides no means by which to decide conflicts between public and non-public reasons. This article develops John Rawls' idea of `reasoning from conjecture' as one way to argue for a commitment to public reason. Reasoning from conjecture is a form of non-public justification that allows political liberals to reason from within the comprehensive views of at least some unreasonable citizens. After laying out the basic features of this form of non-public justification, (...) this article responds to three objections based on concerns about insincerity, cultural imperialism, and the epistemic authority of those who reason from conjecture. (shrink)

Ignace Haaz endeavors to thoughtfully confront the intricate phenomenon of embellishing knowledge, which lies at the delicate boundary between aesthetic values and the ethics of knowledge, or intellectual ethics. This boundary should not be pompously perceived as the social status of some armchair academics but rather understood very practically through the noble profession of the editor. In a meticulously curated collection of essays, he addresses the third set of challenges among three sets of problems surrounding aesthetic values, (...) class='Hi'>ethics, and education. These challenges are: -The profound nature and intricate problem of aesthetic values, including the role of grace and beauty in fostering ethical values versus art as a playful masking of some key values. -The issue of art as “showbusiness” driven by passion-based attitudes, and the consequences arising from these two initial lines of argument. -A focus on art and research integrity, aiming to find artistic responses to the unexpected problems encountered in art-based learning. Ultimately, this contribution poignantly reminds us of the perennial value of irony in addressing ethical dilemmas with others and poses the question of whether laughter, which transcends mere spiritual humor, could also function therapeutically in restoring the confidence between author and publisher in the process of addressing integrity issues. (shrink)

This chapter is a survey of the ethics of belief. It begins with the debate as it first emerges in the foundational dispute between W. K. Clifford and William James. Then it surveys how the disagreements between Clifford and James have shaped the work of contemporary theorists, touching on topics such as pragmatism, whether we should believe against the evidence, pragmatic and moral encroachment, doxastic partiality, and doxastic wronging.

Engineering the Climate: The Ethics of Solar Radiation Management is a wide-ranging and expert analysis of the ethics of the intentional management of solar radiation. This book will be a useful tool for policy-makers, a provocation for ethicists, and an eye-opening analysis for both the scientist and the general reader with interest in climate change.

This book critically analyses the role of behavioural sciences in public policy and challenges the belief that they provide sufficient evidence to build policy from. Through highlighting the ethical, political legal questions around nudges, the author examines the impact of their influence on our society.

Over the last few decades, skepticism about political and moral experts has grown into a serious social problem, undermining the functioning of liberal democratic regimes. Indeed, meritocracy-that is, government by hard working, public-spirited people with high levels of relevant expertise-has never looked so promising as an alternative to the dangers of know-nothing populism. One cultural tradition has devoted sustained attention to the idea of meritocracy, as well as to the cultivation of true expertise or mastery: Confucianism. Mastery, Dependence, and the (...) Ethics of Authority presents a compelling analysis of expertise and authority, and examines classical Confucian conceptions of mastery, dependence, and human relationships in order to suggest new approaches to these issues in ethics and political theory. Contemporary Westerners are heirs to multiple traditions that are suspicious of authority, especially coercive political authority. We are also increasingly wary of dependence, which now often seems to signify weakness, neediness, and pathology. Analysts commonly presume that both authority and dependence threaten human autonomy, and are thus intrinsically problematic. But these judgments are mistaken. Our capacity for autonomy needs to be cultivated over time through deliberate practices of training, in which we depend on the guidance of virtuous and skilled teachers. Confucian thought provides a subtle and powerful analysis of one version of this training process, and of the social supports such an education in autonomy requires-as well as the social value of having virtuous and skilled leaders. Early Confucians also argue that human life is marked by numerous interacting forms of dependence, which are not only ineradicable, but in many ways good. On a Confucian view, it is natural, healthy, and good for people to be deeply dependent on others in a variety of ways across the full human lifespan. They teach us that individual autonomy only develops within a social matrix, structured by relationships of mutual dependence that can either help or hinder it, including a variety of authority relations. (shrink)

In clinical research there is a tension between the role of a doctor, who must serve the best interests of the patient, and the role of the researcher, who must produce knowledge that may not have any immediate benefits for the research participant. This tension is exacerbated in HIV research in low and middle income countries, which frequently uncovers comorbidities other than the condition under study. Some bioethicists argue that as the goals of medicine and those of research are distinct, (...) it is a mistake for researchers to assume therapeutic responsibilities while engaging in research. Others propose that there is a duty of care, but disagree as to how this is limited and specified. In this qualitative study, principal investigators from HIV prevention trials discuss their experience of providing medical benefits to participants within the context of conducting research into HIV biomedical prevention technologies. They describe the limitations imposed at times by funders and at times by infrastructure constraints, and canvass the importance of ancillary care provision and capacity building in trial communities. The views of the principal investigators are compatible with the perspective that there is a duty of care, limited by the nature of the research, the depth of the relationship between research and participant, and the capacity of the research site. The therapeutic orientation in HIV prevention trial appears to be indivisible from competent research practise by making concrete and appropriate benefits available to trial participants and their communities that support rather than compete with local infrastructure. (shrink)

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