Slavoj Žižek often refers to an obscene excess-supplement that, depending on the subject’s pathological disposition, serves to either 1) sustain a conscious injunction by disavowing an unconscious “underside” or 2) instruct the subject to transgress the injunction. This supplemental excess is at work in neurotic and perverse belief but functions in significantly different modes depending on whether the supplement affects the ego or superego. This paper surveys and analyzes Žižek’s use of the obscene excess-supplement in his theological and (...) political applications of psychoanalytic theory. (shrink)

The digital machinery that sustains video games not only directs and regulates the gamer's desire, it also »interpellates« the gamer into a specific mode of subjectivity: a pre-Oedipal not-yet-castrated subjectivity that floats in a kind of obscene immortality: when I am immersed into a game, I dwell in a universe of undeadness where no annihilation is definitive since, after every destruction, I can return to the beginning and start the game again... One should note here that this obscene (...) immortality was the stuff of fantasy long before cartoons – say, in the work of de Sade. The axiom of the philosophy of finitude is that one cannot escape finitude/mortality as the unsurpassable horizon of our existence; Lacan’s axiom is that, no matter how much one tries, one cannot escape immortality. But what if this choice is false? What if finitude and immortality, like lack and excess, also form a parallax couple, what if they are the same from a different point of view? What if immortality is an object that is a remainder/excess over finitude, what if finitude is an attempt to escape from the excess of immortality? (shrink)

This paper examines Jean-Michel Basquiat’s obsession with the marginal and the obscene - understood literally as the ob-scene. The context of a graffiti art, and particularly the glyphic character of graffiti art, allows the work to defy the ordinary logic of the picture frame in order to figure, rather than represent, indeterminate into it. Thus, Basquiat characterizes death and the dead body not in the light of a transcendent space but as prolonged into the depths of an alterity, an (...) ob-scene in the sense of an alter-side that belongs to the scene. (shrink)

This dissertation has two principle aims: To show that current arguments from proponents and opponents of the regulation of sexually explicit Internet content are unsound and to construct an argument against content regulation that avoids the failures of current arguments. ;The dissertation is organized into seven chapters. In Chapter One I provide background information on attempts to regulate sexually explicit materials and briefly outline the development of the Internet. Chapter Two examines the current regulation of obscenity on the Internet. Chapter (...) Three investigates the claim that the Internet should not be regulated due to the value of free speech. In this chapter I examine the claims that opponents of Internet regulation make and the applicability of the First Amendment to Internet speech. I argue that proponents' claims, which are often based on the arguments originally expounded by John Stuart Mill, fall short and are not sound. The next three chapters investigate arguments in support of regulation. These arguments include claims that an unregulated Internet can harm children, women and societal morals. I examine each of the arguments proponents give in support of regulatory action and argue that they are defective. Given the faulted nature of proponents' arguments, it is my conclusion that the arguments fail to justify Internet content regulation. ;Drawing on the conclusions offered in previous chapters, in the final chapter I offer a consequentialist argument against the regulation of sexually explicit Internet materials. Given that, as concluded in previous chapters, the arguments provided to prove that sexually explicit materials on the Internet are harmful fail, there will be little utility gained by regulation. In addition, in this chapter I outline the harm that will be produced by regulating the Internet and conclude that, overall, disutility will ensue if such materials are regulated. (shrink)

Drawing on Yan’s novella Serve the People (2005), the author examines the metamorphosis of the titular master signifier that has served as a central moral mandate in the Chinese Communist Party’s ideological discourse. Relying on a Lacanian framework via Žižek’s and others’ writings, this paper attempts to show that totalitarian ideological transformation hinges on the organization of jouissance (enjoyment) that has undergone three ideological modes — proto-, post-, and neo-totalitarianism. In the first mode, the subject procures enjoyment from the symbolic (...) order through a gesture of sacrifice. Due to the collapse of the imaginary of the Socialist New Man that sustains the totalitarian gaze, the post-totalitarian subject’s cynical distance from the “official” ideology functions as the very support for the effectiveness of the ideological apparatuses. Finally neo-totalitarianism is characterized as the inverse of proto-totalitarianism: the obscene underside that supports the totalitarian order is brought to the front stage as the new symbolic mandate to enjoy. The manifestations of such metamorphosis in literary and filmic works follow the path that starts from the sublime and ends at the obscene. (shrink)

This is the text of The Lindley Lecture for 1979, given by Joel Feinberg, an American philosopher.

Seit jeher sind Künstler und Publikum zugleich fasziniert und abgestoßen von obszönen Darstellungen. Dabei lässt sich gar nicht genau definieren, was das Obszöne ist. Eine Auslegung besagt, dass das Obszöne - in seiner Ableitung von "ob skene": abseits der Szene - dasjenige bezeichnet, das nicht gesehen werden darf. Es ist demnach das, was moralisch verwerflich oder gar verboten, was gefährlich oder unerträglich anzusehen ist. An den drei Themenfeldern Sexualität, Abjektion und Gewalt orientiert sich der Band, der Spielarten des Obszönen in (...) der Kunstgeschichte beleuchtet. Im diachronen Blick auf die historisch wechselnden Auffassungen des Obszönen wird danach gefragt, mit welchen Mitteln Künstlerinnen und Künstler seit dem Mittelalter herrschende Moral-, Sexual- oder Wertvorstellungen - und ihre Überschreitung - zum Thema gemacht haben, welche Ziele sie damit verfolgten und welche Aussagen über die kulturelle Physiognomie ihrer Epoche sich aus ihren "obszönen" Werken ableiten lassen. (shrink)

'...a fascinating analysis of the status of the obscene and its representation in pornography in modern culture.... Caputi's thesis is masterfully argued....'-James Glass, University of Maryland.

'...a fascinating analysis of the status of the obscene and its representation in pornography in modern culture.... Caputi's thesis is masterfully argued....'-James Glass, University of Maryland.

In 1985, a member of the Canadian judiciary handed down a written judgment in which he distinguished between erotica and obscene matter. The judgment attracted the scorn of some normative sociologists, who complained of the insufficiency of the social psychological research on which it was based. Their reaction prompts a review of the judgment in the light of social constructionism and of ethnomethodology; this, in turn, prompts a comparison of social constructionist and ethnomethodological methodologies, in which the legal judgment (...) serves merely as a test case. It is argued that normative sociology and social constructionism, both being of an essentially ironic cast, occlude the judge's sense-making procedures, the very phenomena they purport to describe. Ethnomethodology, on the other hand, being nonironic, promises to capture those procedures. (shrink)

The public does not desire horror, yet enjoys it in art and suffers it in life. When we deal with the monstrous marriage of the abject and the sublime, the consequent thrill of enjoyment is never appeased, always problematic, often unresolved and finally borders on physiological if not pathological narcissism. The public is well acquainted with this 'rhetoric of effects'; rhetoric of extreme effects, which transforms the spectator into voyeur or victim, into an apathetic torturer, whenever cruelty is shown without (...) respite. A look of horror greets the enjoyment of extremes and enjoyment to the extreme as well; the Eighteenth Century teaches us that lesson. The century of good taste elaborates a sense of the limits, since representing horror means choosing not so much to domesticate it as to render it more enjoyable. It is a game of limits that are not limits anymore, as we can allude to an infinity that often shows the features of the sublime. (shrink)

The paper proceeds by criticising the central accounts of obscenity proffered by Feinberg, Scruton and the suggestive remarks of Nussbaum and goes on to argue for the following formal characterization of obscenity: x is appropriately judged obscene if and only if either (A) x is appropriately classified as a member of a form or class of objects whose authorized purpose is to solicit and commend to us cognitive‐affective responses which are (1) internalized as morally prohibited and (2) does so (...) in ways found to be or which are held to warrant repulsion and (3) does so in order to (a) indulge first order desires held to be morally prohibited or (b) indulge the desire to be morally transgres‐sive or the desire to feel repulsed or (c) afford cognitive rewards or (d) any combination thereof or (B) x successfully elicits cognitive‐affective responses which conform to conditions (1)–(3). (shrink)

The paper proceeds by criticising the central accounts of obscenity proffered by Feinberg, Scruton and the suggestive remarks of Nussbaum and goes on to argue for the following formal characterization of obscenity: x is appropriately judged obscene if and only if either x is appropriately classified as a member of a form or class of objects whose authorized purpose is to solicit and commend to us cognitive-affective responses which are internalized as morally prohibited and does so in ways found (...) to be or which are held to warrant repulsion and does so in order to indulge first order desires held to be morally prohibited or indulge the desire to be morally transgressive or the desire to feel repulsed or afford cognitive rewards or any combination thereof or x successfully elicits cognitive-affective responses which conform to conditions -. (shrink)

The analysis of male sexual violence as an integrated phenomenon rests on a theoretical premise that violence and its threat are the foundation of male dominance. I call this phenomenon “sexual terrorism”: the system by which males frighten, and by frightening, dominate and control females. Sexual terrorism is manifested through both actual and implied violence and takes many forms. This article discusses the obscene phone call, a commonly experienced form of intimidation. In this study, while respondents reported a variety (...) of responses to obscene phone calls, most experienced them as “terroristic.” The dynamics of obscene telephone calls mirror the social construction of gender and the fusion of dominance and sexuality. (shrink)

This paper argues that ‘the Anthropocene’ is a deeply depoliticizing notion. This de-politicization unfolds through the creation of a set of narratives, what we refer to as ‘AnthropoScenes’, which broadly share the effect of off-staging certain voices and forms of acting. Our notion of the Anthropo-obScene is our tactic to both attest to and undermine the depoliticizing stories of ‘the Anthropocene’. We first examine how various AnthropoScenes, while internally fractured and heterogeneous, ranging from geo-engineering and earth system science to (...) more-than-human and object-oriented ontologies, place things and beings, human and non-human, within a particular relational straitjacket that does not allow for a remainder or constitutive outside. This risks deepening an immunological biopolitical fantasy that promises adaptive and resilient terraforming, an earth system management of sorts that permits life as we know it to continue for some, while turning into a necropolitics for others. Second, we develop a post-foundational political perspective in relation to our dramatically changing socio-ecological situation. This perspective understands the political in terms of performance and, in an Arendtian manner, re-opens the political as forms of public-acting in common that subtracts from or exceeds what is gestured to hold socio-ecological constellations together. We conclude that what is off-staged and rendered obscene in ‘the AnthropoScenes’ carries precisely the possibility of a return of the political. (shrink)

Mat is a specific domain of Russian obscene vocabulary including words related to sexuality. The first sociolinguistic studies on mat emerged after the fall of the Soviet Union, concomitantly with the formation of Russian gender studies in the early 1990s. Until today, research on gender and taboo in Russian has been exiguous. Many scholars claim that the use of mat is a male prerogative, whereas women’s use of mat is heavily sanctioned in society. Through data from a survey I (...) carried out with 772 participants, I illustrate that mat is strongly present in women’s language use and that stereotypical gender conceptualizations are undergoing change. From the participants’ answers it emerges that discussions about the use of obscene language play a critical role in the multifaceted process of renegotiation of gender roles in post-Soviet contexts. (shrink)

The Williams Report on Obscenity and Film Censorship provoked predictably strong reactions in Britain when it first appeared, both from those who had read it and from those who had not. It is reissued here, in an abridged form, in the belief that it ought to be more widely read and more fully discussed. The practical issues and political principles examined in the Report are certainly of very general and continuing interest, and the report will remain a crucial point of (...) reference for all future public discussion of the subject, whether in Britain or elsewhere. This edition presents all the main findings and arguments of the full report, omitting only the length appendices. There is a preface which explains the background and briefly comments on the reception of the report. (shrink)

: This paper proposes to supplement an American self-identity predicated on a model of absolute difference from the Taliban (good versus evil, etc.) by exploring affinities between their respective ideologies. The place of "woman," within and through the preponderance of sexual exploitation/violence common to both, is the starting point of this analysis. This article reads the two conflicting powers in a Lacanian/Zizekian dyad of the "Law" and its "obscene superego underside.".

This paper proposes to supplement an American self-identity predicated on a model of absolute difference from the Taliban by exploring affinities between their respective ideologies. The place of “woman,” within and through the preponderance of sexual exploitation/violence common to both, is the starting point of this analysis. This article reads the two conflicting powers in a Lacanian/Žižekian dyad of the “Law” and its “obscene superego underside.”.

This paper asks whether the criminal law can have any legitimate concern with obscene language. At most, such a concern could be justified by the need to protect auditors from offense, since it is not plausible to think of exposure to dirty words as harmful or inherently immoral. A distinction is drawn between bare utterance and instant offense, on the one hand, and offensive nuisance and harassment, on the other. Only when obscene language is used to harass can (...) it properly be made criminal. Finally, I criticize in some detail judicial reasoning in the case of F.C.C. v. Pacifica Foundation, and conclude that obscene language on the public media is not properly subject to governmental regulation, whether- by criminal law or otherwise. *** DIRECT SUPPORT *** A9102008 00002. (shrink)

Jean Baudrillard _Revenge of the Crystal: Selected Writings on the Modern Object and its Destiny, 1968-1983_ London: Pluto Press, 1999 ISBN: 0-7453-1443-0 198 pp.

When it first appeared in 1979, the Williams Report on Obscenity and Film Censorship provoked strong reactions. The practical issues and political principles examined are of continuing interest and remain a crucial point of reference for discussions on obscenity and censorship. Presented in a fresh series livery for the twenty-first century, and with a specially commissioned preface written by Onora O'Neill, illuminating its continuing importance and relevance to philosophical enquiry, this abridged edition of Bernard Williams's Report presents all the main (...) findings and arguments of the full report, central to which is the application of Mill's 'harm principle' and the conclusion that restrictions are out of place where no harm can be reasonably thought to be done. (shrink)

This paper takes a bottom-up approach to empirically investigate how people construct the meaning of obscenity, and offers an experientialist, cognitive linguistic account to explain why the term appears to defy definition and makes a problematic legal concept. To study the contextual dependence of the term, we examined the extent to which various item characteristics (such as genre, context, and the race or celebrity status of the people portrayed) and individual variables (such as gender, religion, sexual orientation and previous personal (...) and cultural experiences) influence our perception of seemingly obscene materials. We report correlations that have not been previously shown. The data support the thesis that the meaning of obscenity emerges in a cognitive-affective response that arises during a dynamic process of interpretation, and thus allows for extralegal factors to influence judgment. The results challenge the assumption that obscenity is a symbolic representation of objectively existing reality and argue that community standard of obscenity is a legal fiction. (shrink)