This chapter contains sections titled: I II.

This chapter contains sections titled: I II.

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)

In this paper we will argue in favor of federal funding of elective abortion, more specifically in support of Medicaid funding. To do so, we will address the restrictions on public funding presently in place and demonstrate that the various justifications offered in their defense are in­adequate. We will then suggest that the ‘failure to enable’ represented by a ban on Federal funding is morally equivalent to an outright prohibition on abortion for the target population. Just as a moral equivalence (...) can be established between killing and letting die in symmetrical cases, like criteria for equivalence can be established that help to identify those failures to make possible that are morally indistinguishable from proscriptions. On this basis, it can be shown that restrictions on Federal funding in such contexts can be thought to carry the same moral liability as prohibitions. (shrink)

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.

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)

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)

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)

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)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 2, November 2004, pp. 213-236 Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure E. M. DADLEZ How fast can you run? As fast as a leopard. How fast are you going to run? A whistle sounds the order that sends Archie Hamilton and his comrades over the top of the trench to certain death. Racing to circumvent that order and arriving (...) seconds too late, Archie's friend Frank screams in rage and despair. Archie is cut down before he has run twenty yards. Peter Weir's film Gallipoli is a chronicle of the disastrous Dardanelles campaign of the first World War, but it is also a film about racing. Archie is trained by his uncle Jack to run "as fast as a leopard." The film begins as it ends, with Archie sprinting in response to a whistle. Frank is first shown racing after a train, along with friends who are on their way to enlist. Archie and Frank meet while competing in a race, they race in Cairo once they have enlisted, and they finally race death. From the beginning, Archie has been faster; even at the end he is the first to die. And from the beginning he has swept Frank along in his wake, encouraging him, pushing him, inspiring him, and helping him to positions for which he is inadequately qualified. In the end, Archie's compassion and kindness prompt a decision which has grim consequences both for himself and for hundreds of others. Knowing that his friend fears death in the trenches, Archie recommends Frank as a substitute for himself, a designated message runner. But Frank is not fast enough, and falls short by mere seconds which Archie would not have lost. This is what leads to the failure of the one real effort to countermand the fatal charge. E. M. Dadlez is Professor of Humanities and Philosophy, University of Central Oklahoma, Edmond, OK 73034, USA. e-mail: [email protected] 214 E. M. Dadlez I am an emotional wreck by the time the movie is over, though I should admit that most of my tears are the result of sheer rage. Both my dogs exited the room in some haste once I began to shout at the television and the unpardonably dimwitted British officers who sat sipping tea at a comfortable distance as they gave the order for soldiers to commit suicide. But it isn't just the scope of the real human disaster, or the enormity of the blunder, or the pointlessness of the entire enterprise, or even my renewed conviction that stupidity is, in fact, evil, that is so unsettling. The film unnerves with respect to personal as well as global concerns, focusing attention on the chance of vanity's leading one to undertake responsibilities beyond one's competence, the possibility of advancement or security being achievable only at the expense of another, and the realization of how easy it might be to let those things happen. Gallipoli is a sad, disturbing film, and the spectator is grieved and disturbed in the course of watching it. Yet, having said that, I must own to having a copy in my possession, and to having watched it more than once. I recommend it to friends, offering to lend them my videotape. In fact, I press it on them. I say that it is a terrific, rewarding work which they should take the time to see. How is it that I can describe my experience of the film in such glowing terms and at the same time acknowledge the extreme distress I felt in the course of watching it? How can I reconcile the discordant aspects of my experience? David Hume explores some possible answers in his essay "Of Tragedy."1 He begins by calling attention to the paradox of tragic pleasure: It seems an unaccountable pleasure, which the spectators of a well written tragedy receive from sorrow, terror... and other passions, which are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle.... The whole art of the poet is employed in rousing and supporting the compassion and... (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)

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)

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)