This chapter contains sections titled: Serial Killers, Real and Imagined Dexter Gacy Are Serial Killers Morally Responsible? Moral Responsibility: Emotions and Cognitive Frames.

This chapter contains sections titled: In Cold Bold: The Moral Psychology of Fictional Serial Killers I Think I'll Eat Your Heart: The Lack‐of‐Empathy Explanation Dexter and the Extreme Lack of Understanding The Hot‐Blooded Reality: Sex, Rage, Fame My Evil Just Happened to Come Out: Empathy Inhibits? Serial Killing Because They Care? “Angels of Death” “I didn't want to hurt them, I only wanted to kill them”: Empathic Dissonance The Serial Killer Next Door?

_Serial Killers - Philosophy for Everyone_ investigates our profound intrigue with mass-murderers. Exploring existential, ethical and political questions through an examination of real and fictional serial killers, philosophy comes alive via an exploration of grisly death. Presents new philosophical theories about serial killing, and relates new research in cognitive science to the minds of serial killers Includes a philosophical look at real serial killers such as Ian Brady, Ted Bundy, John Wayne Gacy, Jeffrey Dahmer and the (...) Zodiac killer, as well as fictional serial killers such as Dexter and Hannibal Lecter Offers a new phenomenological examination of the writings of the Zodiac Killer Contains an account of the disappearance of one of Ted Bundy's victims submitted by the organization Families and Friends of Missing Persons and Violent Crime Victims Integrates the insights of philosophers, academics, crime writers and police officers. (shrink)

This chapter contains sections titled: A Historical Survey with Interviews Moral Skepticism and the Serial Killer A Brief History of Serial Killers Serial Killers of the Ancient World Serial Killers of the Renaissance Serial Killers of the Nineteenth Century Serial Killers of the Early Twentieth Century The Golden Age of Serial Killers Serial Killers Today: Conversations on Motivation.

The research deals with the issue of genre hybridization in the novel “Silence – Chronicle of a Killer” written by a contemporary Austrian writer Thomas Raab. An examination of the novel's composition and structure, as a text in motion, has been accomplished in the article. The novel “Silence” is an excellent illustration of how the genre of adventure has been adapted to include elements of science fiction. This novel is a love tale, a rural life saga, a formation narrative, (...) and a psychological thriller all in one. As a fictionalized account of the life of a serial murderer with hypersensitive hearing who became a legend for his mental torment and suffering, it serves both as a biography and a thriller. Novelist Raab uses elements from classic horror novels like Frankenstein, German romantics, in particular, G. Kleist, the tale of Casper Hauser, and detective novels like Friedrich Durrenmatt's "Promise" to tell the story of Casper Hauser's disappearance in his book. A new aesthetic experience may be formed at various degrees of identification ranging from naive perception to higher levels of literary reception. Concentration is required for poetic and philosophical substance. Michel Focalut's nomadism, marginality, and authoritarian power rhetoric have been discussed in this article. The novel's ultimate content has been disclosed as the aphesis torment, emotional sublimation, as the birth of an artwork and, at the same time, death of the author, who exposes discourses, accountable for creating texts that are allocated to him. (shrink)

At least some serial killers are psychopathic serial killers. Psychopathic serial killers raise interesting questions about the nature of evil and moral responsibility. On the one hand, serial killers seem to be obviously evil, if anything is. On the other hand, psychopathy is a diagnosable disorder that, among other things, involves a diminished ability to understand and use basic moral distinctions. This feature of psychopathy suggests that psychopathic serial killers have at least diminished responsibility for (...) what they do. In this chapter I consider whether psychopathic serial killers might be properly said to be both evil and morally responsible for their actions. I argue that psychopathic serial killers are plausibly evil in at least one recognizable sense of the term, but that they are nevertheless not likely to be responsible for many of the evils they perpetuate. (shrink)

This chapter contains sections titled: The Allure of Monsters Explaining the Allure: First Look Stalking the Deeper Reasons Closing in for the Kill Removing Empathy The Prison of Rules Conclusion.

Many creatures exhibit desires of various strengths competing with one another for the prize of interacting with beliefs to cause behaviour. Harry Frankfurt famously analyzes persons in terms of the ability to form second-order desires; desires that intervene in this economy of first-order desires in ways that sometimes award the prize to weaker competitors. This paper augments Frankfurt’s analysis with Kendall Walton’s understanding of pretence behaviour and then interprets the central metaphors in several films by Terrence Malick in terms of (...) this augmented analysis. The result is an understanding of those films as investigations into personhood and factors that inhibit attempts to manifest it. Along the way, the discussion touches on the relation between linguistic and visual metaphor, the potentially ethical character of art, and the question of whether a valid interpretation must be congruent with the actual communicative intentions of the artist. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Historical Violence, Censorship, and the Serial Killer: The Case of American PsychoCarla Freccero (bio)R.L.: Do you believe in God?B.E.E.: Are you asking me if I was raised in a religious family or if I go to church? I was raised an agnostic. I don’t know—I hate to fly, I have a fear of flying. That means either that I have no faith in air traffic controllers or (...) that I’ve done something really bad, and this is God’s way of getting at me. Maybe I’m caught in the middle.... But no, I don’t believe in God. That’s such a strange thing to admit in an interview.—Robert Love, “Psycho Analysis,” Rolling Stone interview with Bret Easton EllisBefore Capitol Hill acts on these dimwitted proposals, we should remember what the writer Bret Easton Ellis might have said, but didn’t: “Doing bad stuff is wrong.”—Ted Rall, “Meet the Cusp Kids”US mass media has become a much-publicized target of censorious commentary within American public culture in recent years. Censorship, as E. S. Burt notes, may take at least two forms: philosophical censorship, such as that discussed by Leo Strauss’s Persecution and the Art of Writing, and the more commonly applied form of US censorship enacted against “pornography” or “obscenity.” Philosophical censorship, in this reading, entails the state’s persecution of message-bearing texts or utterances that counter the doxa and threaten to disrupt the state, while the second form of censorship involves “a language use that falls outside the interpretive scheme defining the work as the intentional act of a moral being” [Burt 25]. In the United States, state censorship of the first kind may perhaps be practiced through the “incitement to riot” escape clause provision in the First Amendment, while obscenity censorship—in certain forms—is explicitly written into legislation as excluded from speech protection.Extending Strauss’s argument to the liberal state, Burt suggests in effect that these two forms of censorship become related insofar as the state’s censorious intent is directed not so much at the content of the expression as at the degree to which it confirms the axiom, what Burt calls the “very fundamental, convening assumption of the... liberal state” [25] that “virtue is knowledge” [see Strauss 25]. Thus obscenity is a form of expression that cannot be interpreted as productive knowledge but instead as a certain repetitive excess, “dirt for dirt’s sake” [Burt, quoting Judge Woolsey 28]. The problem here, of course, is that such distinctions do not apply comfortably to that category of utterance termed the literary, and especially to the use of figurative language, where “art for art’s sake” can be [End Page 44] seen precisely to resemble the nonproductivity of obscenity. The text I am going to discuss in depth here, Bret Easton Ellis’s American Psycho, has been attacked on both grounds—as an active (and violent) disruption of the doxa that is also obscenely nonproductive of knowledge—and as such, it serves as an illustrative, and I will argue, noncoincidental, case of “censorship” in the liberal state.It may be useful here to begin by surveying and making distinctions among the various popular and popularized censorships in recent US media: Ice-T’s “Cop Killer” was probably the most authentic case of “philosophical” censorship, even though its silencing did not derive directly from the state (the liberal state often does not function in some of the ways supposed when the definition of censorship is restricted to state censorship). “Cop Killer” is a song about killing policemen, and thus came closest—in the list I am going to propose of silenced works—to tempting the state’s retaliation. It was written and sung by a black man (a black man who often plays a gangster and a cop in popular films), in a genre already regarded as threateningly disruptive to the state: rap. The result is that the CD containing this song was pulled from the shelves of music stores and can no longer be purchased. There was no trial. The author withdrew his work from public circulation in the face of... (shrink)

Investigating random homicides involves constructing models of an odd sort. While the differences between these models and scientific models are radical, calling them models is justified both by functional and structural similarities. Serial homicide investigations illustrate the marked difference between theoretical models in science and the models applied in these criminal investigations. This is further illustrated by considering Glymourian bootstrapping in attempts to solve such homicides. The solutions that result differ radically from explanations in science that are confirmed or (...) disconfirmed by occurrences. Unlike the scientist, the flatfoot gumshoe is also barefoot: he is bereft of a general, determinative theoretical frame. This result shows that criminal investigations do not apply science in the Galilean sense. (shrink)

This chapter contains sections titled: Sade, Nietzsche, and Brady at the Gates of Janus Brady's Life and Crimes Philosophy and the Moors Murders Brady's Library A Little Knowledge is a Dangerous Thing Nietzsche Sade The Sadean Hero and the Serial Killer Opening the Gates of Janus Brady Evaluates Other Serial Killers.

The self has been a consistently central theme in philosophy and the social sciences and, in the last decades of the 20th century, the fragmentation of the modern self has engendered extensive academic commentary. In order to contribute to current discussions about self, it is perhaps most effective to map the transformation of a single representation of the self in contemporary culture. As a cultural ‘flashpoint’, the serial killer could provide an apposite analytical focus. Drawing critically on Mark (...) Seltzer's work on serial killers this article interprets serial killing as a form of commodified transgression. In contrast to the modern self, established through state-institutionalized routines, serial killers establish their identities through ecstatic intercourse. These acts of bodily and ethical transgression are facilitated by the use of commodities. In this way, the serial killer represents a self which is consistent with the colonization of interpersonal relations by multinational capital. The serial killer signifies the appearance of a postmodern self. (shrink)

In the spirit of the work edited by Michel Foucault (1975) on Pierre Rivière, I propose to put philosophy to work by tackling a case study in which I shall analyse certain court transcripts that pertain to the defence of serial killer, Stewart Wilken, in Die Staat Teen Stewart Wilken. My analysis of these documents is intended to uncover the practices and struggles of the discourses that come together, and into conflict, at this event. The analysis is divided (...) into two parts. In Part One, I thematize subjectivity in relation to the idea of enlightenment autonomy. Here I aim to show that the discourses in law, psychiatry and psychology that dominated at Wilken's trial, appear to have undergone “normalization.” In other words, what Foucault uncovered as early internecine struggles among discourses for supremacy have given way to a unanimous stance concerning the nature of the autonomous subject and its legal ramifications; effectively silencing alternatives. In Part Two, I shall skirt around the frayed edges of these dominant discourses, with the aim of showing in more detail how internal theoretical tensions, such as those evident in the expert testimony given at Wilken's trial, may open up spaces for other accounts of subject- formation. S. Afr. J. Philos. Vol.22(4) 2003: 289-305. (shrink)

The literature on the aetiology of serial killing has benefited from analyses which offer an alternative perspective to individual/psychological approaches and consider serial murder as a sociological phenomenon. The main argument brought to bear within this body of work identifies the socio-economic and cultural conditions of modernity as enabling and legitimating the motivations and actions of the serial killer. This article interrogates this work from the standpoint of a gendered reading of modernity. Using the Yorkshire Ripper (...) case, it emphasizes how in addition to the political economy, gender relations and masculinity shape the dynamics of serial murder and its representation. (shrink)

This chapter contains sections titled: The Language of Psychopathy Why a Moral Grounding Traits versus Behaviors Primates, Communication, and Serial Killers.

O presente artigo aborda os principais aspectos da hibristofilia com objetivo de ampliar a compreensão do fenômeno na sociedade e ressaltar sua importância para psicologia clínica e forense, criminologia e políticas de saúde mental, sobretudo para mulheres. A pesquisa foi realizada por revisão bibliográfica pautada nos conceitos de serial killer, parafilia e hibristofilia: atração sentimental e sexual por criminosos violentos, que atinge em maior parte as mulheres heterossexuais.

This chapter contains sections titled: Can a Serial Killer Ever Be Good? Dexter on Trial Four Ethical Tests Dexter Dreams Darkly: An Overview of Showtime's Dexter Morgan Killing to Maximize Happiness Kant's Dark Champion A Virtuous Devil or a Moral Monster? Hypothetical Consent: Would You Want Dexter in Your Neighborhood? Closing Arguments.

This chapter contains sections titled: Nature, Nurture, and the Female Serial Killer Introduction Female Nurture and Human Nature: Some Philosophical Background Female Serial Killers: A Typology Of Poets and Monsters: Our Common Nature.

This chapter contains sections titled: How Common Are Serial Killings? What is a Serial Killer? I Think Therefore I Kill: The Philosophical Musings of Serial Killers Can You Blame Them? Ethics, Evil, and Serial Killing Dangerous Infatuations: The Public Fascination with Serial Killers A Eulogy for Emotion: The Lack of Empathy and the Urge to Kill Creepy Cognition: Talking and Thinking about Serial Killers Psycho‐ology: Killer Mindsets and Meditations on Murder A Solemn (...) Afterword: A Message from the Victim's Network A Timeline of Serial Killers Notes. (shrink)

This chapter contains sections titled: The Serial Killer as Superhero Why Do We Love Dexter? Dexter Morgan: Superhero Dexter and the Viewer Dexter vs. Dexter Dexter's Ethics Dexter's Dark World.

This chapter contains sections titled: Ted Bundy and Dennis Rader Psychopaths versus Psychotics The Psychopath Language and the Emotional Brain Empathy, Lack of Shame, Insincerity Fantasies The Serial Killer and Nietzsche.

This chapter contains sections titled: Attribution Bias in the Trials of Accused Serial Killers Introduction The Case of Doug Clark Situationism and Destructive Behavior Attribution Biases Seeing Ghosts “Ewww…Guilty!” “You people are all…” “Aren't you the guy who…?” Doug Clark Again Conclusion.

This chapter contains sections titled: The Epistemology of Murder Violence and Human Nature The Gestation of Terrorists and Serial Killers Conclusions.

Ed Gein was a serial killer, grave robber, and body snatcher who made a lampshade from human skin. Now consider the detective who found that lampshade. Let's suppose that he would never want to own it; however, he does find that he wants a synthetic one just like it – a perfect replica. We assume that there is something morally problematic about the detective having such a replica. We then argue that, given as much, we can reach the (...) surprising conclusion that it's morally problematic to consume realistic fake-meat products. After explaining why we might the detective's replica lampshade morally problematic, we clarify the analogy between the replica and fake meat products. Then, we defend it against a number of objections, the most notable one being we can sever any association between fake meat and the real stuff without moral cost. We conclude by pointing out that our argument generalises: if it works, then there is something morally problematic about many fake animal products, including fake leather and fur. (shrink)

On the day on which Dr Harold Shipman, the Manchester serial killer, was convicted, there was wall-to-wall coverage of it in the media. During the course of one of the many reports, the daughter of one of his victims was interviewed, and asked for her views on why Shipman had acted as he did. What she said was this: she’d tried and tried to understand or explain his deeds, and she could only come to the conclusion that he (...) was a really evil man. In saying this, she clearly meant to convey more than the obvious truth that what Shipman did was very wrong and entirely to be condemned. It seems to me that a secular as well as a religious audience would find the daughter’s appeal to evil as an appropriate explanation perfectly comprehensible. But what exactly was it that was being attributed to Shipman, and how was it thought to explain his actions? (shrink)

This chapter contains sections titled: Two Killers in Montana Naming, Metaphor, and the Language of Serial Murder What's in a Name? The Wolf and the Widow Naming: Putting Practice into Theory Metaphor: Wolf in Sheep's Clothing Metaphor: White Wolf Revisited I Am Become Wolf: Anthropomorphism and Zoomorphism Strange Bedfellows For Further Contemplation.

The antihero prevails in recent American drama television series. Characters such as mobster kingpin Tony Soprano, meth cook and gangster-in-the-making Walter White and serial killer Dexter Morgan are not morally good, so how do these television series make us engage in these morally bad main characters? And what does this tell us about our moral psychological make-up, and more specifically, about the moral psychology of fiction? Vaage argues that the fictional status of these series deactivates rational, deliberate moral (...) evaluation, making the spectator rely on moral emotions and intuitions that are relatively easy to manipulate with narrative strategies. Nevertheless, she also argues that these series regularly encourage reactivation of deliberate, moral evaluation. In so doing, these fictional series can teach us something about ourselves as moral beings—what our moral intuitions and emotions are, and how these might differ from deliberate, moral evaluation. (shrink)

Despite the emergence of computer games as a dominant cultural industry, we know little or nothing about the ethics of computer games. Considerations of the morality of computer games seldom go beyond intermittent portrayals of them in the mass media as training devices for teenage serial killers. In this first scholarly exploration of the subject, Miguel Sicart addresses broader issues about the ethics of games, the ethics of playing the games, and the ethical responsibilities of game designers. He argues (...) that computer games are ethical objects, that computer game players are ethical agents, and that the ethics of computer games should be seen as a complex network of responsibilities and moral duties. Players should not be considered passive amoral creatures; they reflect, relate, and create with ethical minds. The games they play are ethical systems, with rules that create gameworlds with values at play. Drawing on concepts from philosophy and game studies, Sicart proposes a framework for analyzing the ethics of computer games as both designed objects and player experiences. After presenting his core theoretical arguments and offering a general theory for understanding computer game ethics, Sicart offers case studies examining single-player games, multiplayer games, and online gameworlds from an ethical perspective. He explores issues raised by unethical content in computer games and its possible effect on players and offers a synthesis of design theory and ethics that could be used as both analytical tool and inspiration in the creation of ethical gameplay. (shrink)

The purpose of this paper is to explore the possible connections between the Virgin Mary, Myra Hindley and Rosemary West. The paper is divided into five sections. In the first, I explore the role of Mary in Christian theology and provide a Christian feminist response to this. In the second, I address some of the theoretical issues involved in studying female serial killers; this includes outlining the role of the media in responding to news stories involving female killers. In (...) the third, I separately address media responses to Myra Hindley and Rosemary West. In the fourth, I explore psychoanalytic perspectives on mothers and mothering. In the conclusion I attempt to bring together and synthesize the significant threads of the paper. (shrink)

This paper has its roots in qualitative analysis of accounts produced by an Italian serial killer. Theoretical references are related to symbolic interactionism and its developments in the field of psychology and criminology. The whole contribution is aimed to twofold purposes: A) to provide a set of criteria specifically addressed to study deviant action as system of meanings into two related contexts: the single action itself and the whole life history. According this point, paper introduces the concept of (...) “deviant career” and it explains its development and steps; it also provides some psychological social points of views and contributions that scientific works offers. B) to think about potentialities of accounting interviews as powerful tools in clinical practice and empirical research too.Specifically, we discuss narrative about behaviour and life story as a resource in order to take suggestions about meanings, goals and rules of action. It also suggests something about functions that crime discharges in the whole pathway of one's life. Juridical case analysis, run by means of the software ATLAS.ti, is aimed to demonstrate theoretical reasoning proposed. (shrink)

Film is a powerful medium that can influence audience’s perceptions, values and ideals. As filmmaking evolved into a serious art form, it became a powerful tool for telling stories that require us to re-examine our ideology. While it remains popular to adapt a literary novel or text for the screen, filmmakers have more freedom to pick and choose the stories they want to tell. This freedom allows filmmakers to explore narratives that might otherwise go unheard, which include stories that feature (...) marginal figures, such as serial killers, as sympathetic protagonists, which is what director Patty Jenkins achieves in her 2003 film Monster. Charlize Theron’s transformation into and performance as Aileen Wuornos, and Jenkins’s presentation of the subject matter, make this film an example of rogue cinema. In addition, Aileen Wuornos is portrayed as a clear example of the rogue character. This character trope frequently defies social standards, suffers from past trauma, is psychologically complex, and is often exiled. As a prostitute and social outcast, Aileen Wuornos exists on the fringes of society and rejects the hegemonic power structure and later heteronormativity of society, which makes her a rogue figure. While there are several aspects to consider when analyzing Jenkins’s film, my intention is to argue that this film is an example of rogue cinema because of its content. In order to accomplish this task, I examine Theron’s bodily transformation and her performance as Wuornos. Furthermore, I look at how Jenkins handles the depiction of romantic love and gendered violence and argue that her treatment of this content renders this film rogue. (shrink)

"Form and Void" is the eighth and final episode in season one of True Detective. "Form and Void" both diminished the element of cosmic horror into something more terrestrial and mundane and replaced Rust Cohle's trademark philosophical pessimism with a metaphysical optimism. True Detective demonstrated real bravery by having a character like Rust Cohle. This chapter defines cosmic horror, supernatural horror, or weird fiction. The cosmic horror and pessimistic philosophy are undermined by the final acts of "Form and Void", the (...) finale. First, the Yellow King, Carcosa, and the Green Man are all revealed as "ordinary" occurrences. This is not to say that cults, child molesters, and serial killers are not frightening. But, if one were to ask one's most cheerful, optimistic friends if such things existed, they would have to say "yes". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Clinical Anecdotes: A Painful Lack of WoundsChristopher Bailey (bio)Keywordsdepression, post-traumatic stress disorder (PTSD), evolution, fight-or-flight, veteran (treatment of)Colin came to me complaining of depression, which started after he got back from Iraq in 2005. Although he had served in the National Guard, he volunteered absolutely nothing about his time in Iraq as we spoke, instead focusing on other factors, like problems at his job and a family history of (...) depression.Colin's depression seemed serious but not severe. He had been functioning fairly well at work and was not suicidal, although his home life had begun to suffer. As the interview proceeded, I myself fell into Colin's blind spot, all but forgetting his tour of duty as I forged ahead with my list of questions. My avoidance was conscious at first, a deliberate reluctance to come across as one more morbidly curious onlooker recklessly inflaming the wounds of war.When Colin complained of irritability, however, and being kept awake by sinister, shadowy “flashes” at night, I knew I had to ask about Iraq. He was probably suffering from post-traumatic stress disorder, I decided, and was thus trying to avoid the very memories that were haunting and hunting him. And for fear of retraumatizing him (if not suffering second-hand trauma myself), I had colluded in his denial.So when I finally got around to asking about Iraq, I fully expected to hear horror stories, half-articulated perhaps, but all the more grisly for the graininess of their images. Instead, Colin surprised me. He had not experienced anything he considered traumatic. No bombs, bloodshed, or shattered bodies. And in fact, he felt like a “wimp” for having been assigned to a noncombat detail where he missed what might have been his last, best chance “to be a hero.”Most of us would consider this a good thing, but in Colin's case, it had left him feeling somehow uninitiated, like he had not done his part or proven his manhood. Contrary to my assumption, it was the lack of trauma that seemed to trigger his depression upon returning from Iraq. In a relatively safe homeland, rife with middle-class comforts and lacking all but metaphorical rites of passage, perhaps we all feel this way at some level.I pointed out to Colin that people have been dying everywhere in Iraq and under all different circumstances, not just combat. From my stateside perspective, just being there is brave. Although I meant to honor him, he seemed to take my offering as more evidence of his failure, reassuring me that nothing he did could ever compare with the unspeakable horrors endured by veterans of Viet Nam and World War II.Now, as a civilian, he questions whether or not he would respond with sufficient ferocity if, say, he had to defend his family against an attacker. Although powerfully built, Colin (to his credit) has never been a brawler or a bully. Nonetheless, [End Page 223] I have no doubt he could do whatever it took to protect his family. What concerns me more is the opposite: That in trying to prove himself, he might unwittingly put himself and his family in harm's way, if not hurt someone who was never really a threat to begin with.With a new family member, I too feel the burden of hypervigilance. But although terrorists, serial killers, and gangs grab headlines, activating our visceral alarm systems, data from the Centers for Disease Control and Prevention suggest that a sedentary lifestyle still exacts a higher death toll among white American men, like Colin and myself. Although the effect of inertia on the body has been discussed extensively, its impact on mental health has received relatively little attention. Maybe for a creature who evolved on the African savannah, competing over territory and trying not to get eaten, the absence of a visceral challenge can be as debilitating as too much of one.Colin seemed receptive to my concerns, which I took to be a good sign. Although insecure men are quick to fear emasculation, Colin did not seem to be the least bit threatened when I suggested a course... (shrink)

When asked to describe wartime atrocities, terrorist acts, and serial killers, many of us reach for the word 'evil'. But what does it really mean? Luke Russell defends a new account of the nature of evil action and persons. Although the concept of evil is extreme and often misused, it has a legitimate place in contemporary secular moral thought.

While in the movies or reading a novel, how can we feel terrified by monsters, ghosts, and fictional serial killers? And how can we feel sad or outraged by depictions of cruelty? After all, we know that the imagined threats that we fear do not exist and, therefore, pose no real threat to us; and we know that the instances of cruelty that bring tears to our eyes have not happened. And yet, the fear, the sadness, or the outrage (...) experienced in our imaginations feels very real. This is the so-called paradox of "fictional emotions." This and related paradoxes have become recalcitrant problems for a purely representational approach to the imagination that tries to accommodate the imagination in a belief-desire psychology, explaining our imaginings as mental states that are similar to beliefs or desires in some ways but not others—as "quasi-beliefs" or "quasi-desires." This representational approach can be seen, for example, in Kendall Walton's influential account of the imagination as "make-believe," or in Shaun Nichols and Stephen Stich's boxological account of the imagination as a "pretend box," which is in close interaction with the suspiciously similar "belief box". (shrink)

Hailed as "a feast" (Washington Post) and "a modern-day bestiary" (The New Yorker), Stephen Asma's On Monsters is a wide-ranging cultural and conceptual history of monsters--how they have evolved over time, what functions they have served for us, and what shapes they are likely to take in the future. Beginning at the time of Alexander the Great, the monsters come fast and furious--Behemoth and Leviathan, Gog and Magog, Satan and his demons, Grendel and Frankenstein, circus freaks and headless children, right (...) up to the serial killers and terrorists of today and the post-human cyborgs of tomorrow. Monsters embody our deepest anxieties and vulnerabilities, Asma argues, but they also symbolize the mysterious and incoherent territory beyond the safe enclosures of rational thought. Exploring sources as diverse as philosophical treatises, scientific notebooks, and novels, Asma unravels traditional monster stories for the clues they offer about the inner logic of an era's fears and fascinations. In doing so, he illuminates the many ways monsters have become repositories for those human qualities that must be repudiated, externalized, and defeated. (shrink)

In popular culture psychopaths are inaccurately portrayed as serial killers or homicidal maniacs. Most real-world psychopaths are neither killers nor maniacs. Psychologists currently understand psychopathy as an affective disorder that leads to repeated criminal and antisocial behavior. Counter to this prevailing view, I claim that psychopathy is not necessarily linked with criminal behavior. Successful psychopaths, an intriguing new category of psychopathic agent, support this conception of psychopathy. I then consider reactive attitude theories of moral responsibility. Within this tradition, psychopaths (...) are thought to be blameless as a result of their pronounced affective deficits. Psychopaths are considered morally blind because they lack the moral emotions that make us sensitive to moral reasons. I argue that, even if they are morally blind, psychopaths remain open to forms of blame stemming from non-moral reactive attitudes. These reactive attitudes remain appropriate because psychopaths can express hateful, disgusting, or contemptible non-moral values in their judgments. (shrink)

This chapter contains sections titled: A Philosophical Gaze into the Writings of the Zodiac Killer Who is the Zodiac Killer? Peek‐A‐Boo: You Are Doomed! This is the Zodiac Speaking Conclusion.

The first chapter introduces core ideas—sexism, speciesism, and male privilege—through an examination of the labor and crimes of pig farmer and serial killer Robert Pickton, then formally introduces sexism, speciesism, male privilege, the #MeToo Movement, #ARMeToo Movement, and word activism. With regard to the latter, “anymal” and “interfacing oppressions” are introduced as novel referents. At its closing, the introduction provides an overview of upcoming chapters.

I don’t know whether undead beings exist. I also think it is an open question whether anyone is evil in, say, the way bad guys are depicted in supernatural horror films and serial killer movies. I do think it’s nevertheless puzzling that the undead are frequently portrayed as evil in that way. I’m inclined to think that if we were to stumble across any undead they would be less likely to be evil than any random live person we (...) stumble across. Consider this a call for some undead understanding. I am going to approach these conclusions in a roundabout way. First, I’ll try to sketch something of an ontology of the undead, an account of their nature and variety. Then, I’ll show how these considerations should change how we think about the undead and their purported propensity for evil. (shrink)

Reports of increasing family violence abound in Nigeria. Although studies have implicated cultural constructs as the basis for this trend, this study specifically contemplated the nexus between the increased violence and Anti-Social Personality Disorder (ASPD). The purpose of this study was to connect these abusive and violent behaviours in their specific contexts as evidence of ASPD. The study was hinged on autoethnographic research which I systematically analysed as lived experiences with a sociopath. Data for the analyses was drawn from purposively (...) sampled participants (n-70) of victims of family violent abuse. Thematic, interpretative analytical approach and the theories of sociopathy, particularly Hare, Psychopathy Checklist-revised (PCL-R) were used to analyse the data from my personal experiences, and the interviews. The results indicated that only five participants representing 7.14% of the purposively selected population, admitted knowing sociopaths as conscienceless murderers and serial killers. The majority of participants (90%) contemplated sociopaths in religious terms (as incarnated evil beings). Only 2.86% rightly expressed their understanding of sociopathy and related personality disorders in a much-informed manner. Although the results of this study contrast with conventional propositions on ASPD, they revealed how religious belief and superstition among Nigerians frame the conversation on sociopathy and other variants of ASPD. Findings suggested that the growing superstitious beliefs on the causes, nature and remedy to ASPD particularly those associated with sociopathy provide the space for people living with these behavioural conditions (particularly violent sociopaths) to continue abusing unsuspecting individuals in the society. Contribution: The finding of this study specifically challenged the faith-based misconceptions associated with ASPD. Therefore, it is expected that the new insight on ASPD, particularly sociopathy ushers in proper understanding and ways of dealing with the morally insane. (shrink)

The Celebration of Death in Contemporary Culture investigates the emergence and meaning of the cult of death. Over the last three decades, Halloween has grown to rival Christmas in its popularity and profitability; dark tourism has emerged as a rapidly expanding industry; and funerals have become less traditional. "Corpse chic" and "skull style" have entered mainstream fashion, while elements of gothic, horror, torture porn, and slasher movies have streamed into more conventional genres. Monsters have become pop culture heroes: vampires, zombies, (...) and serial killers now appeal broadly to audiences of all ages. This book considers, for the first time, these phenomena as aspects of a single movement, documenting its development in contemporary Western culture. Previous considerations of our fixation on death have not developed a convincing theory linking the mounting demand for images of violent death and the dramatic changes in death-related social rituals and practices. This book offers a conceptual framework that connects the observations of the simulated world of fiction and movies--including The Twilight Saga, The Vampire Diaries, Night Watch, Hannibal, and the Harry Potter series--to social and cultural practices, providing an analysis of the specific aesthetics and the intellectual and historical conditions that triggered the cult of death. It also considers the celebration of death in the context of a longstanding critique of humanism and investigates the role played by 20th-century French theory, as well as by posthumanism, transhumanism, and the animal rights movement, in the formation of the current antihumanist atmosphere. With its critique of movie and book blockbusters and the death-related social rituals, festivals, and fashions that have coalesced into the cult of death, this timely volume will appeal to anyone hoping to better understand a defining phenomenon of our age. Scholars and general readers of cultural studies, film and literary studies, anthropology, and American and Russian studies will find this book thought-provoking. (shrink)

Gadamer's project in Truth and Method is as much about truth in the human sciences as it is about human subjectivity, for, following Heidegger, he claims that truth is reducible to method (technical rationality) only if one is misled by old Enlightenment subject/object dualisms. Posing the question of the possibility and nature of truth in scientific thinking, where a strict division between subjective and objective has fallen away, Gadamer belongs, as one of its inaugural figures, to an alternative tradition of (...) philosophical complexity, which implicates environmental systems (culture, ideology, institutions), embedded in language, in the constitution of human subjectivity.With these theoretical shifts in mind, what caught my attention in a press report concerning the trial of (subsequently convicted) serial killer, Stewart Wilken (“Boetie Boer”), was the strangely anachronistic question that dominated the front page of a Port Elizabeth newspaper: “Boetie: Is he Sick or Evil?” This question, in my view, harks back to a questionable framework of Enlightenment autonomy, which depends upon the easy technical rationality of clear-cut dichotomies. In what follows I hope to show that in acknowledging the role of complex interrelations between cultural and other systems, a tradition of philosophical complexity justifiably claims a more adequate framework for understanding self- formation than that underpinning the discourses at work in Wilken's trial. I shall draw on Gadamer's hermeneutic model of an “embedded”subject, which is based on his speculative model of “play” out lined in Truth and Method, and supplement this with Lacan's psychoanalytic account of subject formation. S. Afr. J. Philos. Vol.21(4) 2002: 258-273. (shrink)