Wonder Woman's co‐creator William Marston believed that sexual bondage was key to achieving a peaceful society. Though Marston intended Wonder Woman to provide an alternative to the masculinity of the superheroes of his day, Marston's vision remains relevant today. The behavior and attitude of Marston's Wonder Woman anticipated contemporary feminist philosophers' contributions to the ethics of care. There is also an underlying ethics of care in Wonder Woman's role as what Marston calls a "Love Leader", and that combination of kink (...) and care is itself reflected in contemporary BDSM. Marston's stated goal in his academic writing was to promote "a new code of conduct, based on love supremacy". Marston's comic‐book creation, Wonder Woman, fit his depiction of an ideal Love Leader: a sexually alluring and powerful, yet loving, mistress whose feminine charms would make women and men submit to her authority. (shrink)

Applying Grice's account of conventional and conversational implicature, and Frankfurt's account of bullshit, shows that Donald J. Trump's language falls into a category beyond Frankfurt's own.

Alan Moore and Dave Gibbons’ Watchmen may be the most acclaimed graphic novel of the twentieth century. This chapter examines how it explores two metaphysical questions: What is the nature of time? Does free will exist? Moore and Gibbons explore these questions together, illuminating connections between time and free will through connections between the graphic novel’s form and content. The chapter introduces three views of the nature of time: presentism, the view that only the present exists; growing-universe theory, the view (...) that only the present and past exist; and eternalism, the view that past, present, and future exist. Because of Moore and Gibbons’ distinct use of images and words within the visual structure and their depiction of a character who is simultaneously aware of past, present, and future events, the chapter deduces that the operative view in Watchmen is eternalism. After discussing three views of the existence of free will, the chapter then argues that eternalism entails that people could not have acted otherwise than they actually acted. Hence the operative view in Watchmen is either determinism, according to which no one has free will because no one could have done otherwise, or compatibilism, according to which people can have free will because having it merely requires having acted. The chapter concludes that the operative view is compatibilism. Finally it responds to the objection that compatibilism is mistaken. If no one could have done otherwise, then determinism must be true. (shrink)

Yes, Roya, a 2016 graphic novel written by C. Spike Trotman and illustrated by Emilee Denich, depicts Roya, a woman of color who writes and illustrates a comic strip; Joe, a white man who gave up his career after meeting Roya, who now publishes under his name; and Wylie, a young white man starting in the profession. Roya completely dominates Joe’s career, making it hers. She also partly dominates Wylie’s, acting as his mentor. Roya dominates Joe and Wylie personally too. (...) She is their sexual dominant, and they are her submissives. Professionally and personally, moreover, Joe and Wylie each submit to Roya consensually. Further, though Roya both writes and illustrates her comic strip, often writer and illustrator differ. The former, creating the story, dominates the latter, illustrating the story after the fact – as Trotman and Denich themselves did consensually via a contract when creating their graphic novel. Hence Yes, Roya highlights domination and submission in comics creation and in sex. More than that, the graphic novel also presents both kinds of domination and submission as ethical. Because Aristotle, Kant, and Mill are the most influential ethicists in the Western tradition, this chapter investigates how each could accommodate such professional and personal dominant/submissive relationships in their philosophy. (shrink)

Marks individually or in combination constitute images that represent objects. How do those images represent those objects? Marks vary in style, both between and within images. Images also vary in style. How do those styles relate to each other and to the objects that those images represent? Referencing a diverse range of images, we answer the first question with a response-dependence theory of image representation derived from Mark Johnston, differentiating Lockean primary qualities of marks from secondary qualities of images. We (...) answer the second question with a perceptual theory of style derived from Paul Grice, differentiating physical style from image style, and representing conventionally from representing conversationally. (shrink)