A common view holds that humor and morality are antithetical: Moral flaws enhance amusement, and moral virtues detract. I reject both of these claims. If we distinguish between merely outrageous jokes and immoral jokes, the problems with the common view become apparent. What we find is that genuine morals flaws tend to inhibit amusement. Further, by looking at satire, we can see that moral virtues sometimes enhance amusement. The position I defend is called symmetric comic moralism. It is (...) widely regarded as patently absurd. I hope to correct this mistake. (shrink)

Humour is a source of moral concern because some jokes contain both elements of immorality and funniness. This raises the question of whether jokes can be funny despite moral flaws and, more generally, how immorality affects funniness. One answer to this question is comic moralism; the position that immorality negatively affects funniness. Berys Gaut has given a merited-response argument in defence of comic moralism, but Noël Carroll has criticised this argument. In this paper, I defend Gaut's (...) argument from Carroll's criticism. Specifically, I argue that benign appraisal is a necessary condition for amusement, which is a commonly proposed claim across many disciplines. (shrink)

Comic moralism holds that some moral properties impact negatively on the funniness of certain items that possess them. Strong versions of the doctrine deem the impact to be devastating: the possession of such a property by one of these items ensures the item is not funny. Weak versions deem the impact merely damaging: any funniness one of the items possesses is diminished, but not destroyed, by its possession of the property. Various species of comic moralism hold, (...) respectively, various moral properties to impact negatively on funniness. For example, one species holds as much of the property “manifests attitudes that are morally wrong,” but other species hold as much of different moral properties. Comic moralism, or a species of it, can be unrestricted, or restricted, depending on whether it pertains to all the items that possess the negatively impacting moral property or properties, or to just a subset of these items. (shrink)

According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in relevant actions (...) undertaken in the creation of those works. Underlying this argument is the idea that such generative actions are partly constitutive of a work's identity, and, therefore, they may affect the ethical value of an artwork either positively or negatively, and they are the proper objects of ethical appraisal. (shrink)

This article explores several views on the relation of humour, especially tendentious humour, to morality, including comic amoralism, comic ethicism, comic immoralism, and moderate comic moralism. The essay concludes by defending moderate comic moralism.

Jokes are sometimes morally objectionable, and sometimes they are not. What’s the relationship between a joke’s being morally objectionable and its being funny? Philosophers’ answers to this question run the gamut. In this paper I present a new argument for the view that the negative moral value of a joke can affect its comedic value both positively and negatively.

I argue that genuine moral flaws never enhance amusement, but they sometimes detract.I argue against comic immoralism--the position that moral flaws can make attempts at humor more amusing.Two common errors have made immoralism look attractive.First, immoralists have confused outrageous content with genuine moral flaws.Second, immoralists have failed to see that it is not sufficient to show that a morally flawed joke is amusing; they need to show that a joke can be more amusing because of the fact that it (...) is morally flawed.I argue that the immoralist lacks a plausible account of how this could be the case.I reject immoralism and argue for comic moralism—the position that moral flaws can make attempts at humor less amusing. (shrink)

. Usually the ethics of humor revolves around the content of humor. After giving a synopsis and exposing some shortcomings of the recent controversies, this paper takes into account additional aspects and proposes a change of perspective from token to type level and deploys tools of the philosophy of language to tackle the question whether a joke as a type can be considered morally flawed irrespective of its tokens. After exploring possible ways one can think of to furnish evidence for (...) the opposite position, two novel lines of argumentation based on counterfactual conditionals and speech act theory are provided to show that these ways aren’t viable and that joke as types are ethically neutral. Moreover, the presented approach increases the resolution of the debate and provides a framework to capture other hitherto neglected questions of the philosophy of humor as well. (shrink)

This article considers the effectiveness of queer environmental ethics in the Anthropocene, a word increasingly used to describe the anthropogenic destruction of ecosystems that marks our current geological era. Taking as my subject the contemporary ecosexuality movement popularised by performance artists Annie Sprinkle and her co-collaborator and partner Elizabeth Stephens, I explore the ethics behind ecosexuals’ encounters with the natural environment. Stephens and Sprinkle's performances, captured in their documentary Goodbye Gauley Mountain: An Ecosexual Love Story (2013), make clear ecosexuality's concurrent (...) urgency and playfulness, which is embodied in a theatrical environmental sensibility that I call eco-camp. Eco-camp is a mode of florid performance, spectacle and ostentatious sex-positivity that champions new forms of relationality between humans and other earthly inhabitants. Drawing from diverse theoretical perspectives, including Mikhail Bakhtin's (1968) carnivalesque, Chris Cuomo's (1998) ethics of flourishing and Cynthia Willett's (Willett et al., 2012; Willett, 2014) theorisation of feminist humour, I argue that ecosexuality's campy ecological ethics provide an alternative to the didacticism and moralism that characterise much contemporary environmentalism. In the spirit of carnival, the tragi-comic and, at times, parodic tone of ecosexuality generates an affective dissonance that spurs us to feel the full effects of our discordance with nature. (shrink)

lecture 1. The world of the Greco-Roman moralists -- lecture 2. How empire changed philosophy -- lecture 3. The great schools and their battles -- lecture 4. Dominant themes and metaphors -- lecture 5. The ideal philosopher, a composite portrait -- lecture 6. The charlatan, philosophy betrayed -- lecture 7. Philosophy satirized, the comic Lucian -- lecture 8. Cicero, the philosopher as politician -- lecture 9. Seneca, philosopher as court advisor -- lecture 10. Good Roman advice, Cicero and Seneca (...) -- lecture 11. Musonius Rufus, the Roman Socrates -- lecture 12. Dio Chrysostom, the wandering rhetorician -- lecture 13. Dio Chrysostom, preaching peace and piety -- lecture 14. Epictetus, philosopher as school teacher -- lecture 15. Epictetus, the stoic path to virtue -- lecture 16. Epictetus, the messenger of Zeus -- lecture 17. Marcus Aurelius, meditations of the king -- lecture 18. Jews thinking like Greeks -- lecture 19. Philo, Judaism as Greek philosophy -- lecture 20. Plutarch, biography as moral instruction -- lecture 21. Plutarch and philosophical religion -- lecture 22. Plutarch on virtue and educating children -- lecture 23. Plutarch, envy, anger, and talking too much -- lecture 24. The missing page in philosophy's story. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The View from GadshillFrancis SparshottII once had a furious confrontation with that learned and passionate scholar, the late Milton C. Nahm. He had been giving a paper that involved Falstaff—I forget how, but it included the familiar appeal to the fat knight as the comic spirit of untrammelled life, so that the newly crowned Hal’s final repudiation—“I know thee not, old man”—chills the audience as a denial of (...) humanity in favor of impersonal administration. But I told Nahm that I could not see Falstaff that way. As a boy, if I cycled home from Gravesend to Rochester I had to pass over the North Downs at Gadshill. And it is at Gadshill, when we first meet him, that Falstaff’s gang is planning to waylay a band of innocent travelers. I could never take kindly to a man who made a living mugging and rolling people like me. Nahm was contemptuous of my incompetence to deal with literature: I was prevented from appreciating the portrait of the comic monster, appalling but breathtaking, by my inhibited and inhibiting moralism. But I insisted that I saw no reason why one should abandon one’s identity or one’s morality while one was watching a play or reading a book.Nahm would have been right if I had been insensitive to Falstaff’s outrageousness, his unscrupulous energy and vivacity, his wit and candor. But I think my appreciation was sharpened rather than nullified by my awareness of the real menace Falstaff represents to people who happen not to be his pals. And I think Nahm’s enthusiasm blinded him to something else that Shakespeare wrote into the part. At that very first meeting, we find Falstaff trying to negotiate for himself a position of power or privilege when the young prince shall succeed to the throne. And it is just this negotiation that Falstaff is trying to resume [End Page 398] from the sidewalk at the end, when the new king brushes him off. Nahm did not notice this because it did not occur to him that Henry V was going to be a real king with real power over real people, just as it did not occur to him that Falstaff’s robbed and brutalized pilgrim victims would be real people suffering real injury and loss. If my personal angle, the potential victim’s view, had so usurped my vision that it blinded me to whatever else the playwright had made of his character and its situation, it would have made me a bad viewer of the play. But it might have added depth to my understanding and my criticism if it gave me an angle that other viewers and readers could imaginatively share. 1 Since each of us has some sort of angle on everything, sharing perspectives can always be valuable.III have been reminded of my encounter with Nahm by reading Edward W. Said’s Culture and Imperialism. 2 The book appears to start from the position that imperialism is the “determining political horizon of modern Western culture” (p. 60), imperialism being defined as the policy of establishing and maintaining an empire, and an empire as “a relationship... in which one state controls the effective political sovereignty of another political society” (p. 9). Because this is the determining horizon, the right way to think of any “Western” author is as an agent of imperialism, although of course this is most easily shown in the case of authors and works in which the imperial connection is explicit.If there is to be a uniform curriculum and canon for the teaching of English literature everywhere in the world, that canon obviously should not be based on works that assume the rightness and normality of an imperialism that defines most readers of that literature as racially and culturally inferior; such a canon is itself a tacit agent of an offensive and gratuitous imperialism. This much seems clear. But Said’s book then moves off into a hackneyed recitation of the evils that the West (or the north, or the developed world 3 ) inflicts on a world of passive victims, followed by a denunciation of the... (shrink)

Williams’s well-known critique of the ‘moralism’ of liberal political philosophy—its disconnect from political reality—holds special significance for the theory and practice of constitutional adjudication, where calls for ‘realism’ increasingly resound. Is constitutional discourse also guilty of moralism—as Williams himself thought—or might it succeed where political philosophy has failed? This paper reconstructs Williams’s critique of political moralism as one that decries the empty idealism of the philosophical project of abstraction: the quest for general, timeless, and universal principles drains (...) theory of its prescriptive force. It then argues that legal-constitutional reasoning, even in its most ambitious ‘forum of principle’ conception, is not a flight to abstraction but precisely a pragmatist negotiation of the concreteness-abstraction tension through acts of justification. But constitutional discourse in its current form remains moralistic in another distinct sense: it idealizes the political, thereby failing to account for the social and political pressures on courts and the proper normative significance of institutional considerations. Constitutional discourse could only offer a solution to the ailments of political philosophy if it cures its own chronic idealization. (shrink)

A recent article on ‘The Number of Speaking Actors in Old Comedy’ by D. M. MacDowell has argued that to perform the plays of Aristophanes required the use of four, but never five, speaking actors.1 Systematically argued, MacDowell presents a cogent case against Henderson , who has suggested that at times five actors were permitted. MacDowell also presents some very sensible observations on the nature of any prescription which might limit the number of actors. The final paragraphs, however, express considerable (...) discomfort at the earliest work in the extant corpus: 'Akharnians, however, remains problematic, since it has two scenes which may be thought to require five actors' . A tentative solution is offered by MacDowell, which is that 'these scenes were actually performed without a fifth actor, by making very quick changes in the scene with Amphitheos and the Envoy, and by using dolls for the Megarian's Daughters' . Unspeaking performers for the Megarian's Daughters are more likely than dolls, since they must follow orders for movement . Apart from this, I have no doubt that this is indeed how Akharnians was performed, and an examination of the specific comic techniques employed by Aristophanes in the two problematic scenes in Akharnians demonstrates not only the comic desirability of their use, but their applicability to other plays by Aristophanes. (shrink)

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

Not all comics are art. What about the comics that are art? What sort of art are they? In particular, are comics a form of literature? For a variety of reasons it is tempting to think that at least some comics are literature. Nevertheless, many theorists reject the ‘comics as literature’ view. And although some reasons for resisting that view are misguided, I shall argue that there are other good reasons for being hesitant about treating comics as a form of (...) literature. This leaves us at an impasse with respect to the classification of comics. I suggest that the way out of the impasse is to recognize that comics are a hybrid art form. (shrink)

Comic Relief: A Comprehensive Philosophy of Humor develops an inclusive theory that integrates psychological, aesthetic, and ethical issues relating to humor Offers an enlightening and accessible foray into the serious business of humor Reveals how standard theories of humor fail to explain its true nature and actually support traditional prejudices against humor as being antisocial, irrational, and foolish Argues that humor’s benefits overlap significantly with those of philosophy Includes a foreword by Robert Mankoff, Cartoon Editor of The New Yorker.

Comics have great potential to depict an almost infinite range of themes, questions and lives. But what about their ability to express and interpret philosophical concepts? How can we differentiate between the representation of theoretical concepts in and of themselves, and the impact of comics techniques on the legacy of philosophers, their lives and their thought? This book explores the historical and artistic value of representing lives through the medium of bande dessinée (BD), French-language comics. The text analyses three biographical (...) BDs dedicated to the lives of Jean-Paul Sartre, Simone de Beauvoir and Albert Camus as well as a selection of print and online comics that extend the legacy of these philosophers and their historical movement. The work is the first to analyse biographical BD through the lens of Existentialism, offering a new theory of reading biographical comics. The research not only contributes a novel approach to comics but also an enhanced understanding of Existentialism and the Existentialists, including their enduring contemporary relevance. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective (...) authorship (coupled with our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

This chapter contains sections titled: Introduction Desiderata for an Account of Genre Existing Accounts of Genre An Account of Genre Conclusion Notes References.

Dietrich Bonhoeffer's thinking about ethics and Christianity is a fascinating attempt to combine different, and often conflicting, strands in the Christian intellectual tradition. In this article, I outline his thinking, analyse the advantages and disadvantages in his approach, and relate it to developments in contemporary philosophy. His critique of an excessive stress upon principles and abstraction in opposition to a concern for concrete circumstances is, I argue, best seen as a necessary critique of what I call moralism rather than (...) morality. It is also related to recent philosophical theories of particularism and the debates about ‘emergency ethics’ in current philosophy. On the negative side, Bonhoeffer has a tendency to treat non-Christian ethics as necessarily relativist and at times is excessively influenced by the elements in Christian theological tradition that are hostile to the natural and to non-Christian philosophy. In addition, his invocation of ‘the Divine mandates’ seems to have undesirable implications for some genuine values in liberal democratic theory and practice. (shrink)

This is a slightly revised text of Jeffrie G. Murphy’s Presidential Address delivered to the American Philosophical Association, Pacific Division, in March 2006. In the essay the author reconsiders two positions he had previously defended—the liberal attack on legal moralism and robust versions of the retributive theory of punishment—and now finds these positions much more vulnerable to legitimate attack than he had previously realized. In the first part of the essay, he argues that the use of Mill’s liberal harm (...) principle against legal moralism cannot be cabined in such a way as to leave intact other positions that many liberals want to defend—in particular, certain fundamental constitutional rights and character retributivism in criminal sentencing. In the second part of the essay, he expresses serious doubts—some inspired by Nietzsche—about the versions of character retributivism that he had once enthusiastically defended and now describes himself as no more than a reluctant retributivist. (shrink)

Philosophers often call emotions appropriate or inappropriate. What is meant by such talk? In one sense, explicated in this paper, to call an emotion appropriate is to say that the emotion is fitting: it accurately presents its object as having certain evaluative features. For instance, envy might be thought appropriate when one’s rival has something good which one lacks. But someone might grant that a circumstance has these features, yet deny that envy is appropriate, on the grounds that it is (...) wrong to be envious. These two senses of ‘appropriate’ have much less in common than philosophers have supposed. Indeed, the distinction between propriety and correctness is crucial to understanding the distinctive role of the emotions in ethics. We argue here that an emotion can be fitting despite being wrong to feel, and that various philosophical arguments are guilty of a systematic error which we term the moralistic fallacy. (shrink)

Comics can be ordered in a range of ways, most overtly by issue number for works within a series, and by page number for pages within works. The internal elements of a comic can also be ordered by formal details found within pages. We identify four kinds of formal details specific to comics pages or two-page spreads: how their elements are arranged, how they are viewed, what events they represent, and when information about those events is presented.

Philosophers often call emotions appropriate or inappropriate. What is meant by such talk? In one sense, explicated in this paper, to call an emotion appropriate is to say that the emotion is fitting: it accurately presents its object as having certain evaluative features. For instance, envy might be thought appropriate when one's rival has something good which one lacks. But someone might grant that a circumstance has these features, yet deny that envy is appropriate, on the grounds that it is (...) wrong to be envious. These two senses of `appropriate' have much less in common than philosophers have supposed. Indeed, the distinction between propriety and correctness is crucial to understanding the distinctive role of the emotions in ethics. We argue here that an emotion can be fitting despite being wrong to feel, and that various philosophical arguments are guilty of a systematic error which we term the moralistic fallacy. (shrink)

This imaginative and unusual book explores the moral sensibilities and cultural assumptions that were at the heart of political debate in Victorian and early twentieth-century Britain. It focuses on the role of intellectuals as public moralists and suggests ways in which their more formal political theory rested upon habits of response and evaluation that were deeply embedded in wider social attitudes and aesthetic judgments. Collini examines the characteristic idioms and strategies of argument employed in periodical and polemical writing, and reconstructs (...) the sense of identity and of relation to an audience exhibited by social critics from John Stuart Mill and Matthew Arnold to J.M. Keynes and F.R. Leavis. (shrink)

Philosophers often call emotions appropriate or inappropriate. What is meant by such talk? In one sense, explicated in this paper, to call an emotion appropriate is to say that the emotion is fitting: it accurately presents its object as having certain evaluative features. For instance, envy might be thought appropriate when one’s rival has something good which one lacks. But someone might grant that a circumstance has these features, yet deny that envy is appropriate, on the grounds that it is (...) wrong to be envious. These two senses of ‘appropriate’ have much less in common than philosophers have supposed. Indeed, the distinction between propriety and correctness is crucial to understanding the distinctive role of the emotions in ethics. We argue here that an emotion can be fitting despite being wrong to feel, and that various philosophical arguments are guilty of a systematic error which we term the moralistic fallacy. (shrink)

This chapter contains sections titled: Introduction A Cautious Set‐Up Minimal Authorship (of Sorts) Minimal Authorship (of the Comic Sort) Some Work for a Theory of Comic Authorship Illustrating Robust Comic Authorship Comic Authorship of the McCloudian Sort Appropriation Cases Commission Cases Collaborative Cases Non‐Collaborative Cases Final Thoughts Notes References.

Shaftesbury believed that the height of virtue was impartial love for all of humanity. But Shaftesbury also harboured grave doubts about our ability to develop such an expansive love. In The Moralists, Shaftesbury addressed this problem. I show that while it may appear on the surface that The Moralists solves the difficulty, it in fact remains unresolved. Shaftesbury may not have been able to reconcile his view of the content of virtue with his view of our motivational psychology.

Moralism is often described as a vice. But what exactly is wrong with moralism that makes it aptly described as a character flaw? This paper will argue that the problem with moralism is that it downgrades the force of legitimate moral criticism. First, I will argue that moralism involves an inflated sense of the extent to which moral criticism is appropriate. Next, I will examine the value of legitimate moral criticism, arguing that its value stems from (...) enabling us to take a stand against immoral behavior. Finally, I will argue that unwarranted moral criticism downgrades the force of legitimate moral criticism and that this is why moralism should be seen as a vice. (shrink)

After distinguishing different species of Legal Moralism I outline and defend a modest, positive Legal Moralism, according to which we have good reason to criminalize some type of conduct if it constitutes a public wrong. Some of the central elements of the argument will be: the need to remember that the criminal law is a political, not a moral practice, and therefore that in asking what kinds of conduct we have good reason to criminalize, we must begin not (...) with the entire realm of wrongdoing, but with conduct falling within the public realm of our civic life; the need to look at the different processes of criminalization, and to ask what kinds of consideration can properly figure in those processes; the need to attend to the relationship, and the essential differences, between criminal law and other modes of legal regulation. (shrink)

Moralism involves the distortion of moral thought, the distortion of reflection and judgement. It is a vice, and one to which many - from the philosopher to the media pundit to the politician - are highly susceptible. This book examines the nature of moralism in specific moral judgements and the ways in which moral philosophy and theories about morality can themselves become skewed by this vice. This book ranges across a wide range of topics: the problem of the (...) demandingness of morality; the conflict between moral and other values; the contrast between the practice of moral philosophy and other modes of moral thought or reflection; moralism in the media; and, moralism in the public discussion of literature and art. This highly original and provocative book will be of interest to students of philosophy, psychology, theology and media, and to anyone who takes a serious interest in contemporary morality. (shrink)

Legal moralists hold that the immorality of an action is a sufficient reason for the state to prevent it. Liberals in the tradition of Mill generally reject legal moralism. However, Larry Alexander has recently developed an argument that suggests that a class of legal restrictions on freedom that most liberals endorse is, and perhaps can only be, justified on moralistic grounds. According to Alexander, environmental restrictions designed to preserve nature or beauty are forms of legal moralism. In this (...) paper, I explore two liberal lines of response to Alexander’s argument. The first argues that an aesthetic interest is among our basic legally protectable interests. This argument claims that environmental and other regulations designed to protect beauty and nature are justified in order to prevent setbacks to this aesthetic interest. The second focuses on a democratic conception of the public interest. It holds that democratic communities are entitled, through their institutions, to shape the community and environment they live in. On this view, the community need not appeal to moralism to justify its adoption of environmental regulations, since in adopting such regulations it is simply enacting its collective preferences. On these grounds, I claim that Alexander’s case for the claim that aesthetic regulations can only be justified on moralistic grounds is much weaker than he takes it to be. (shrink)

According to immoralists, some artworks are better aesthetically in virtue of their immorality. A. W. Eaton recently offered a novel defence of this view, seeking to overcome shortcomings in previous accounts, thereby occasioning a reconsideration of immoralism. Yet, as I argue in this paper, Eaton’s attempt is unsuccessful, insofar as it consists partly of inadequately supported claims, and partly—and more interestingly, albeit paradoxically––of covert moralist assumptions that are, eo ipso, incompatible with immoralism. I then turn to a parallel debate in (...) ethics concerning the possibility of admirable immorality, suggesting that a consideration of the state of that debate further supports my argument against immoralism. I close by suggesting some strategies by which immoralists may offer a rejoinder, although I note that their prospects are rather dim, not least because available defences of immoralism and similar positions all seem to share the same flawed pattern. (shrink)

Comics comprise a hybrid art form descended from printmaking and mostly made using print technologies. But comics are an art form in their own right and do not belong to the art form of printmaking. We explore some features art comics and fine art prints do and do not have in common. Although most fine art prints and comics are multiple artworks, it is not obvious whether the multiple instances of comics and prints are artworks in their own right. The (...) comparison of comics and fine art prints provides a promising test for assessing how hybrid art forms develop more generally, and for assessing how they differ from closely related nonhybrid cousins. (shrink)

This article sets out some of the key features of a realist critique of liberal moralism, identifying descriptive inadequacy and normative irrelevance as the two fundamental lines of criticism. It then sketches an outline of a political theory of modus vivendi as an alternative, realist approach to political theory. On this account a modus vivendi should be understood as any political settlement that involves the preservation of peace and security and is generally acceptable to those who are party to (...) it. In conclusion, some problems with this conception of modus vivendi and with a realist political theory more generally are discussed. In particular, the question is raised of whether a realist political theory should be understood as an alternative to liberal moralism or only a better way of doing basically the same kind of thing. (shrink)

Many comics are aesthetically trashy: They are immediately grasped and easily available. Historically, this trashiness is lobbed as an aesthetic defect of many comics, a defect for both their production and their appreciation. To defend these comics, some point to non-aesthetic values, like sociality. I argue that there is aesthetic value to these comics, and that it lies precisely in their trashy characteristics: their immediacy and availability. Many comics have these characteristics because many comics are cartooned. The immediacy of cartooning (...) is precisely what makes so many ordinary comics beautiful in an ordinary way. (shrink)

In Morality and Socially Constructed Norms, Valentini searches for a unifying principle that underlies whatever genuine obligations we might have to obey the norms of any and all social practices, ranging from line queueing norms, through offsides rules in soccer, to obligations not to break the law. I argue that this search is driven, and distorted, by a commitment to what Bernard Williams labeled the ‘morality system’. Once we see this, we should question the value of the unifying project. Most (...) social norms can be considered on their own terms, as part of a rich and variegated ethical life, without subsuming them under the question of whether others’ moral rights are at stake. Similarly, political obligation needs to be understood in relation to the practical activity of politics, not as an abstract moral quandary. (shrink)

What exactly are comics? Can they be art, literature, or even pornography? How should we understand the characters, stories, and genres that shape them? Thinking about comics raises a bewildering range of questions about representation, narrative, and value. Philosophy of Comics is an introduction to these philosophical questions. In exploring the history and variety of the comics medium, Sam Cowling and Wesley D. Cray chart a path through the emerging field of the philosophy of comics. Drawing from a diverse range (...) of forms and genres and informed by case studies of classic comics such as Watchmen, Tales from the Crypt, and Fun Home, Cowling and Cray explore ethical, aesthetic, and ontological puzzles, including: -/- - What does it take to create-or destroy-a fictional character like Superman? - Can all comics be adapted into films, or are some comics impossible to adapt? - Is there really a genre of “superhero comics”? - When are comics obscene, pornographic, and why does it matter? -/- At a time of rapidly growing interest in graphic storytelling, this is an ideal introduction to the philosophy of comics and some of its most central and puzzling questions. (shrink)

:This article examines the moralistic language and arguments used in relation to genetics. The focus is on three practices: the claims that there is a duty to know about one’s own genetic makeup, assertions that genetic information should be used to inform reproductive decisions, and the proposition that there are moral reasons to participate in biobank research. With these three, the author contends that there are equally good, if not better, arguments to challenge them from a Millian perspective. Furthermore, especially (...) in the current political climate, there is a need to respect people’s privacy concerns. (shrink)

In the present scenario, Superman’s problem is not just a problem of physical effort but one of practical reasoning. A well‐adjusted and fairly moral person will respond to the world in certain kinds of ways that go beyond making calculations of reasons. First, there is the issue of what they will count as a reason at all. Second, there is the matter of when serious deliberation is required at all. Just as we act out of habit in our usual daily (...) routines, so too we can act out of habit in less routine matters. And these habits can be emotional too. Injustice causes us to feel anger on our own or on others’ behalf, exemplified by Grant Morrison’s Superman‐as‐social‐crusader in the new Action Comics. When the circumstances make things clear, a virtuous person just acts. In this sense, Superman is virtuous in his exercise of practical reason. (shrink)