Pornography

Rae Langton and Caroline West have argued that pornography silences women by presupposing misogynistic attitudes, such as that women enjoy being raped. More precisely, they claim that a somewhat infamous pictorial, “Dirty Pool”, makes such presuppositions. I argue for four claims. (i) Langton and West's account of how pornography silences women is empirically dubious. (ii) There is no evidence that very much pornography makes the sorts of presuppositions they require. (iii) Even "Dirty Pool", for all its other problems, does not (...) make the presuppositions that Langton and West claim it does. (iv) Langton and West misread “Dirty Pool” because they do not take proper account of the fact that pornography traffics in sexual fantasy. (shrink)

This paper has three goals. The first is to defend Tristan Taromino and Erika Lust (or some of their films) from criticisms that Rebecca Whisnant and Hans Maes make of them. Toward that end, I will be arguing against the narrow conceptions that Whisnant and Maes have of what `feminist' pornography must be like. More generally, I hope to show by example why it is important to take pornographic films seriously as films if we're to understand their potential to shape, (...) or mis-shape, socio-sexual norms. (shrink)

In 'Scorekeeping in a Pornographic Language Game', Rae Langton and Caroline West borrow ideas from David Lewis to attempt to explain how pornography might subordinate and silence women. Pornography is supposed to express certain misogynistic claims implicitly, through presupposition, and to convey them indirectly, through accommodation. I argue that the appeal to accommodation cannot do the sort of work Langton and West want it to do: Their case rests upon an overly simpified model of that phenomenon. I argue further that, (...) once we are clear about why Langton and West's account fails, a different and more plausible account of pornography's influence emerges. (shrink)

The impacts of pornography are varied and complex. Performers are often thought to be victims of abuse and exploitation, while viewers are regularly accused of becoming desensitised to sexual violence. Further, porn is held by some to perpetuate damaging racial and gender stereotypes. I contend that these accusations, though not entirely baseless, are undermined for two reasons: they rest on questionable empirical evidence and ignore many of the positive consequences porn may have. In this article, I organise my analysis from (...) the screen outward, critically examining the effects porn has on performers, viewers, and wider society, and finding that in each domain it may have both positive and negative outcomes. Following this, I evaluate porn as a form of Bakhtinian carnival and discuss how online porn may offer a mode of resisting hegemonic cultural norms. On the whole, therefore, I argue that the harms attributed to porn have often been overgeneralised and exaggerated, and that porn has a range of effects unable to be captured by a mere pro/anti dichotomy. (shrink)

This book is about how the systematic application of some basic principles of applied ethics yields some surprising and very unpopular results. In particular, Kershnar investigate three areas: sex, discrimination, and violence. The book argues that the following are some permissible in theory and practice. (1) Adult-child sex (2) Watching rape-pornography (3) State universities discriminating against women (4) The U.S. denying welfare to immigrants (5) Interrogational torture (6) Assassination In addition, the book argues that different races likely have different per (...) capita moral value and that equal opportunity is not valuable. These controversial conclusions will no doubt spur animated and thoughtful discussion amongst readers. (shrink)

Art and Pornography presents a series of essays which investigate the artistic status and aesthetic dimension of pornographic pictures, films, and literature, and explores the distinction, if there is any, between pornography and erotic art. Is there any overlap between art and pornography, or are the two mutually exclusive? If they are, why is that? If they are not, how might we characterize pornographic art or artistic pornography, and how might pornographic art be distinguished, if at all, from erotic art? (...) Can there be aesthetic experience of pornography? What are some of the psychological, social, and political consequences of the creation and appreciation of erotic art or artistic pornography? This book will contribute to a more accurate and subtle understanding of the many representations that incorporate explicit sexual imagery and themes. It is sure to stir debate, and healthy controversy. (shrink)

We offer an account of the generic use of the term “porn”, as seen in recent usages such as “food porn” and “real estate porn”. We offer a definition adapted from earlier accounts of sexual pornography. On our account, a representation is used as generic porn when it is engaged with primarily for the sake of a gratifying reaction, freed from the usual costs and consequences of engaging with the represented content. We demonstrate the usefulness of the concept of generic (...) porn by using it to isolate a new type of such porn: moral outrage porn. Moral outrage porn is representations of moral outrage, engaged with primarily for the sake of the resulting gratification, freed from the usual costs and consequences of engaging with morally outrageous content. Moral outrage porn is dangerous because it encourages the instrumentalization of one’s empirical and moral beliefs, manipulating their content for the sake of gratification. Finally, we suggest that when using porn is wrong, it is often wrong because it instrumentalizes what ought not to be instrumentalized. (shrink)

The Gamer's Dilemma challenges us to find a distinction between virtual murder and virtual pedophilia. Without such a distinction, we are forced to conclude that either both are morally acceptable or that both should be morally illicit. This paper argues that the best way to solve the dilemma is, in one sense, to dissolve it. The Gamer's Dilemma rests on a misunderstanding in the sense that it does not distinguish between the form of a simulation and its surface content. A (...) greater appreciation of the way structural features of a simulation affect subject experience will help us see why only simulations of murder and pedophilia generating virtually real experiences are likely to be seen as wrong. I argue that a simulation’s structural elements powerfully affect how subjects experience simulated content and hence is an important, and previously neglected, variable necessary to dissolve the Gamer's Dilemma. Properly understood, virtually real simulations of murder and pedophilia are both likely to be treated by players as morally wrong. Similarly, virtually unreal murder and pedophilia will be less likely to be judged as wrong. Subject judgments are thus consistent once a simulation’s structural variables are accounted for. The Gamer's Dilemma dissolves as a dilemma once we acknowledge these structural features of simulations and how they affect experience and moral judgment. (shrink)

The objective of this paper is to show that pornography dehumanizes women through essentialization. First, I argue that certain acts of subject-essentialization are acts of subject-dehumanization. Second, I demonstrate, by reviewing evidence about the linguistic material we find in and around pornography, that pornography systematically deploys content that essentializes women in the ways identified as problematic. It follows that pornography dehumanizes women.

In this paper, I argue that many violent sexual fantasies are not vicious. In the first part of this article, I sketch out the nature of violent sexual fantasies and note that many people regularly have them. I then argue many violent sexual fantasies are not vicious. My argument strategy is to explore what makes an attitude vicious and then to note that the vice-making feature need not be present in such fantasies and is in fact probably not present in (...) many of them. I then explore some of the implications of this finding for the nature of virtue and pornography policy. (shrink)

Anti-Porn activists have argued for decades that pom is discrimination, it hamis women as a class. The Pro-porn response has been to dismiss these concems, laud the First Amendment, or argue that pornography is a valuable contribution to society. The debate has progressed little beyond this stage. In this article, I argue that it is time to frame the pomography debate as a discussion on sexualized media in general. Recent research indicates that the negative results often attributed to hard-core pornography, (...) such as sexist attitudes, lack of empathy for women, objectification, etc., are attributable to sexualized media as a whole. Pornography is, therefore, an infelicitous target. The solution to this problem is not the prohibition or litigation of one narrow aspect of this phenomenon, hard-core pornography, but the regulation of the producers of sexualized media in conjunction with efforts to educate consumers. (shrink)

The conservative antipornographic premise should be faulted for its groundlessness. Thus, conservative state censorship should be challenged by liberal individual rights to pornography and further by the value of moral harm. Along with the spirit of J. S. Mill’s harm principle, the right to free speech, including of course pornographic right, must prevail. And a number of feminist challenges to free pornographic rights are replied to in a variety of ways by some liberal thinkers who believe in the supremacy of (...) the First Amendment in the Bill of Rights of the U.S. Constitution. The concept of neutralizability may be added among those replies. Liberal pornographic rights prevail these days. (shrink)

A review of Loose Women, Lecherous Men, by Linda LeMoncheck.

In this paper, I develop two criticisms of Miranda Fricker’s attempt to offer an interpretation of MacKinnon’s claim that pornography silences women that conceives of the silencing in question as an extreme form of testimonial injustice. The intended contrast is with the speech act theoretical model of silencing familiar from Rae Langton and Jennifer Hornsby, who appeal to MacKinnon’s claim to argue against the standard liberal line on pornography, which takes a permissive stance to be demanded by a right to (...) freedom of speech. Fricker’s alternative suggestion is that women are the victims of ‘an especially acute form of testimonial injustice’, due to the kind of dehumanizing bad sexual ideology peddled in much pornography. Fricker suggests that both notions of silencing are coherent possibilities, but that ‘the epistemic model describes the more empirically likely possibility, simply because it requires less erosion of women’s human status before the silencing effect kicks in’. I question the truth of this advertised advantage of Fricker’s epistemic account of silencing, but also its relevance to philosophical debates about pornography and silencing. Second, I raise a concern about theorizing about sexual refusal as a kind of testimony, as Fricker does. (shrink)

Is it ever morally wrong for a consumer to imagine something immoral in a work of fiction, or for an author to prompt such imagining? Brandon Cooke has recently argued that it cannot be. On Cooke’s account, fictive imagining is immune to moral criticism because such cases of imagining do not amount to the endorsement of the immoral content, nor do they imply that the authors of such fictions necessarily endorse their contents. We argue against Cooke that in fact fictively (...) imagining something immoral can be morally blameworthy, specifically in cases where fictive imagining is engaged in the service of immoral desires. Taking one potent case—namely, rape-fantasy pornography—we argue that the proper engagement with pornography requires the engagement of the consumer’s desires. Insofar as it is morally wrong to desire something immoral, or to encourage others to desire something immoral, then consumers can be held morally blameworthy for engaging in such fictive imaginings and works of fiction that are crafted to fit these purposes can be open to moral condemnation. (shrink)

The debate about children in art and the surrounding morality started with Bill Henson's photographs of naked pubescent children. It is wider now, extending in several directions. In particular, into freedom of speech , and its association with freedom in art This article explores these issues with particular regard to Hensons photographs; and the application of several of the moral theories to this issue.

I argue that Alisa Carse's call for antipornography legislation sets a potentially dangerous legal move that could threaten to shut off the dialogue women need to redefine the meanings and terms of our sexualities. I also argue that the terms of legitimacy need to be re-examined outside a legal system that systematically fails to protect the rights of sexual minorities.

In the last twenty years, recorded messages and written notes have become a significant test and an intriguing puzzle for the semantics of indexical expressions (see Smith 1989, Predelli 1996, 1998a,1998b, 2002, Corazza et al. 2002, Romdenh-Romluc 2002). In particular, the intention-based approach proposed by Stefano Predelli has proven to bear interesting relations to several major questions in philosophy of language. In a recent paper (Saul 2006), Jennifer Saul draws on the literature on indexicals and recorded messages in order to (...) criticize Rae Langton's claim that works of pornography can be understood as illocutionary acts – in particular acts of subordinating women or acts of silencing women. Saul argues that it does not make sense to understand works of pornography as speech acts, because only utterances in contexts can be speech acts. More precisely, works of pornography such as a film may be seen as recordings that can be used in many different contexts – exactly like a written note or an answering machine message. According to Saul, bringing contexts into the picture undermines Langton's radical thesis – which must be reformulated in much weaker terms. In this paper, I accept Saul's claim that only utterances in contexts can be speech acts, and that therefore only works of pornography in contexts may be seen as illocutionary acts of silencing women. I will, nonetheless, show that Saul's reformulation doesn't undermine Langton's thesis. To this aim, I will use the distinction Predelli proposes in order to account for the semantic behaviour of indexical expressions in recorded messages – namely the distinction between context of utterance and context of interpretation. (shrink)

Jennifer Saul has argued that the speech acts approach to pornography, where pornography has the illocutionary force of subordinating women, is undermined by that very approach: if pornographic works are speech acts, they must be utterances in contexts; and if we take contexts seriously, it follows that only some pornographic viewings subordinate women. In an effort to defend the speech acts approach, Claudia Bianchi argues that Saul focuses on the wrong context to fix pornography’s illocutionary force. In response, I defend (...) Saul arguing that Bianchi doesn’t show Saul has focused on the wrong context. (shrink)

This major collection of essays stands at the border of aesthetics and ethics and deals with charged issues of practical import: art and morality, the ethics of taste, and censorship. As such its potential interest is by no means confined to professional philosophers; it should also appeal to art historians and critics, literary theorists, and students of film. Prominent philosophers in both aesthetics and ethics tackle a wide array of issues. Some of the questions explored in the volume include: Can (...) art be morally enlightening and, if so, how? If a work of art is morally better does that make it better as art? Is morally deficient art to be shunned, or even censored? Do subjects of artworks have rights as to how they are represented? Do artists have duties as artists and duties as human beings, and if so, to whom? How much tension is there between the demands of art and the demands of life? (shrink)

On the ten year anniversary of 2Girls1Cup, this article examines the complex balance of shock, pleasure and disgust elicited by this viral video.

In the 1980s and 1990s, a series of attempts were made to put into U.S. law a civil rights ordinance that would make it possible to sue the makers and distributors of pornography for doing so (under certain conditions). One defence of such legislation has come to be called "the free speech argument against pornography." Philosophers Rae Langton, Jennifer Hornsby and Caroline West have supposed that this defence of the legislation can function as a liberal defence of the legislation: in (...) particular, a defence of the legislation based on the value of women's liberty. This would be somewhat unexpected given MacKinnon's own antipathy toward liberalism. In this paper, I argue that the free speech argument against pornography cannot be used as a liberal defence of the ordinances. The legislation is, to some extent, self-defeating insofar as it understood in terms acceptable to a fairly standard kind of liberal. This becomes apparent when we consider the value pornography can have for women, which we can see if we consider what female makers, distributors and consumers of pornography have to say about why they make, distribute and consume it. (shrink)

The elucidation of Art. 4 Act No. 44, 2008 implicitly protects a person’s right to possess pornographic materials for his own use. This article argues that this reading opens up a number of moral problems. For one thing what is the limit of legal and illegal porn, a question which cannot be separated from our understanding of what is considered indecent behaviour. In addition, the porn industry, the source of pornographic materials, is considered immoral or against religious precepts in itself. (...) The right to posses pornographic materials will be discussed from this perspective. (shrink)

How would you feel about your husband, wife, or partner masturbating using pornography or erotica? For many, this would be a betrayal – a kind of cheating. I explore whether monogamous relationships should forbid solo masturbation using erotica and pornography, considering two possible objections: (1) the objection that such activity is a kind of infidelity; (2) the objection that such activity involves attitudes, usually attitudes towards women that are incompatible with an equal, loving relationship. I argue that the use of (...) erotic material in solo masturbation should not count as cheating. Solo use of pornography differs significantly from interpersonal sexual activity. Thus, unlike causal interpersonal sex, it does not undermine the role of sex within the relationship. Additionally, freedom to explore sexual fantasy through masturbation is an important element of sexual autonomy. Objection (2) holds against some but not all erotic material. Sexual enjoyment of pornography that depicts, or is produced by, suffering or degradation involves a way of seeing others that has implications for the user’s relationships with others, particularly sexual relationships. However, not all erotic material involves objectionable attitudes towards others. Thus partners should allow moderate use of some types of erotica in solo-masturbation. (shrink)

Art and Pornography presents a series of essays which investigate the artistic status and aesthetic dimension of pornographic pictures, films, and literature, and explores the distinction, if there is any, between pornography and erotic art. Is there any overlap between art and pornography, or are the two mutually exclusive? If they are, why is that? If they are not, how might we characterize pornographic art or artistic pornography, and how might pornographic art be distinguished, if at all, from erotic art? (...) Can there be aesthetic experience of pornography? What are some of the psychological, social, and political consequences of the creation and appreciation of erotic art or artistic pornography? This book will contribute to a more accurate and subtle understanding of the many representations that incorporate explicit sexual imagery and themes. It is sure to stir debate, and healthy controversy. (shrink)

This anthology takes the ever-controversial discussion of pornography out of solely academic circles; it expands the questions about porn that academics might tackle and opens the conversation to those who know it best—the creators and users of porn. Features essays on non-traditional issues in porn, including celebrity sex tapes, virtual sex, S&M, homosexual porn, and technology’s impact on the porn industry Features fascinating insights from psychologists, a lawyer, and an English professor, as well as industry insiders such as Dylan Ryder (...) A fun, entertaining, and philosophically provocative approach to pornography, written for the general reader. (shrink)

Walter Kendrick traces the relatively recent concept of pornography—the word was not coined until the late 18th century—which became a public issue once the printing press gave ordinary people access to the erotica of the Greeks and Romans, the art and literature of the French enlightenment, and the poems of the Earl of Rochester and John Cleland's _Fanny Hill_. From the secret museums to the pornography trials of _Madame Bovary_ and _Lady Chatterly's Lover_, to Mapplethorpe, cable TV, and the Internet, (...) Kendrick explores how conceptions of pornography relate to issues of freedom of expression and censorship. (shrink)

La porno straight est un genre littéraire, photographique et cinématographique socialement et historiquement situé, facilement accessible, jusque dans l’univers domestique – le câble – et le domaine professionnel – les écrans de veille. Je ne connais pas la pornographie..

Deadgirl (2008) is based around a group of male teens discovering and claiming ownership of a bound female zombie, using her as a sex slave. This narrative premise raises numerous tensions that are particularly amplified by using a zombie as the film's central victim. The Deadgirl is sexually passive yet monstrous, reifying the horrors associated with the female body in patriarchal discourses. She is objectified on the basis of her gender, and this has led many reviewers to dismiss the film (...) as misogynistic torture porn. However, the conditions under which masculinity is formed here—where adolescent males become “men” by enacting sexual violence—are as problematic as the specter of the female zombie. Deadgirl is clearly horrific and provocative: in this article I seek to probe implications arising from the film's gender conflicts. (shrink)

Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture, with ever more diverse representations of the undead being imagined. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of our sexual behaviors. However, the notion of zombie sex has been largely unaddressed in scholarship. -/- (...) This collection addresses that unexamined aspect of zombiedom, with essays engaging a variety of media texts, including graphic novels, films, television, pornography, literature, and internet meme culture. The essayists are scholars from a variety of disciplines, including history, theology, film studies, and gender and queer studies. Covering The Walking Dead, Warm Bodies, and Bruce LaBruce’s zombie-porn movies, this work investigates the cultural, political and philosophical issues raised by undead sex and zombie sexuality. (shrink)

Torture Porn is a term that has generated a great deal of controversy during the last decade, critics utilizing the term to dismiss contemporary popular horror cinema as obscene and morally depraved. Arguing primarily in defense of torture-themed horror films, this book seeks to offer a critical overview and examination of the Torture Porn phenomenon, discussing the generic contexts in which it is situated, scrutinizing press responses to the sub-genre, and offering narrative analyses of the sub-genre’s central films; including the (...) highly popular Saw franchise, the Hostel movies, and recent revamped versions of slasher movies such as Texas Chainsaw Massacre, as well as the multitude of independent direct-to-DVD films that have been influenced by these theatrically successful films. (shrink)