Online research in philosophy

This essay uses the recently published expanded record of the Queensberry libel trial to revisit the relationship between the 'literary' and 'sexual' dimensions of the Wilde scandal. The defence was guided by an integrated conception of the links between the two that shaped both the public responses and the legal proceedings, including the criminal prosecution. The conflict between moral literalism and aesthetic indeterminacy not only informed the legal determination of sexual guilt but also was inflected by social class in ways that contributed to the construction of male homosexuality and of the 'literary'.

Oscar is going to be the first artificial person — at any rate, he is going to be the first artificial person to be built in Tucson's Philosophy Department. Oscar's creator, John Pollock, maintains that once Oscar is complete he will experience qualia, will be self-conscious, will have desires, fears, intentions, and a full range of mental states (Pollock 1989, pp. ix–x). In this paper I focus on what seems to me to be the most problematical of these claims, viz., that Oscar will experience qualia. I argue that we have not been given sufficient reasons to believe this bold claim. I doubt that Oscar will enjoy qualitative conscious phenomena and I maintain that it will be like nothing to be Oscar.

Oscar Wilde's The Critic as Artist is shown to foreshadow some key concepts of poststructuralist interpretive theory - such as the necessary interplay of blindness and insight in criticism (Lacan, Paul de Man), or the retroactive effect of interpretation in the construction of the work. More specifically, Wilde's reading of the riddle of the Sphinx in a passage of this work both theorizes and dramatizes the paradoxical relationship between blindness and insight, in the shape of an ironic prophecy which can be read as Wilde's announcement of his own tragic downfall - in which there is an element of compulsive acting out that has been noted by a number of previous critics. That is, Wilde's Sphinx is used as the vehicle of a riddle about Wilde himself, and is an emblem of his own ambivalent attitude toward the public revelation of his homosexuality.