Feminism: 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)

Deepfakes are algorithmically modified video and audio recordings that project one person’s appearance on to that of another, creating an apparent recording of an event that never took place. Many scholars and journalists have begun attending to the political risks of deepfake deception. Here we investigate other ways in which deepfakes have the potential to cause deeper harms than have been appreciated. First, we consider a form of objectification that occurs in deepfaked ‘frankenporn’ that digitally fuses the parts of different (...) women to create pliable characters incapable of giving consent to their depiction. Next, we develop the idea of ‘illocutionary wronging’, in which an individual is forced to engage in speech acts they would prefer to avoid in order to deny or correct the misleading evidence of a publicized deepfake. Finally, we consider the risk that deepfakes may facilitate campaigns of ‘panoptic gaslighting’, where many systematically altered recordings of a single person's life undermine their memory, eroding their sense of self and ability to engage with others. Taken together, these harms illustrate the roles that social epistemology and technological vulnerabilities play in human ethical life. (shrink)

Considering the short history of the feminist philosophy of language, Rae Langton’s article “Speech Acts and Unspeakable Acts” was highly influential as one of the first positive research programs in the movement. In that paper, Langton – using John L. Austin’s speech act theory – tries to interpret Catharine MacKinnon’s thesis: pornography is a speech that subordinates and silences women. Despite the importance of the subject, those unfamiliar with certain historical and contextual features of the topic would hardly understand it. (...) My paper aims to introduce some of the major accounts in this special area in the intersection of speech act theory and feminist philosophy. Rather than just reconstructing Langton’s arguments and the most common objections against it, I will take a more holistic approach, examining its surrounding literature as well. This article has six sections. In Section 1, I contrast the conservative and liberal arguments against pornography and sketch MacKinnon’s liberal critique. In Section 2, I give alternative interpretations of MacKinnon’s thesis, “pornography is harm.” In Section 3, I try to make sense of the prima facie implausible assumption that pornography is speech. In Section 4 and 5, I will analyze the Langtonian theories about subordination and silencing. Finally, in Section 6, I will mention the most challenging problems for Langton’s approach, considering the verbal nature or pornography, the limits of the protection of free speech, and the different positions on sexual consent. (shrink)

ABSTRACT 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 simplified 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)

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)

Many pornographic works seem to count as works of fiction. This apparent fact has been thought to have important implications for ongoing controversies about whether some pornography carries problematic messages and so influences the attitudes (and perhaps even the behaviour) of its audience. In this paper, I explore the claim that pornographic works are fictional and the significance that this claim has for these issues, with a particular focus on pornographic films. Two related morals will emerge. First, we need to (...) pay attention not merely to whether entire pornographic works should be classified as fictional, but to the way that pornographic fictions (like fictional works more generally) have both fictional and non-fictional elements. Second, we have to understand the ways that pornographic works can blur the lines between fiction and non-fiction, misleading their audiences into taking their fictional elements to be revealing truths about non-fictional reality. In the case of pornographic films, we will examine how a pornographic fiction can be portrayed by people having sex on camera, and the ways in which this portrayal can mislead viewers about sex in the non-fictional world. (shrink)

The verb to legitimate is often used in political discourse in a way that is prima facie perplexing. To wit, it is often said that an actor legitimates a practice which is officially prohibited in the relevant context – for example, that a worker telling sexist jokes legitimates sex discrimination in the workplace. In order to clarify the meaning of statements like this, and show how they can sometimes be true and informative, we need an explanation of how something that (...) is officially illegitimate can have a kind of ersatz legitimacy conferred on it, and how this can occur even when the actor ‘doing the legitimating’ lacks formal authority. I examine one putative explanation centred around the phenomenon of normalization, and I highlight some advantages that this account has in comparison to an alternative explanation, one that makes reference to the phenomenon of licensed authority. (shrink)

This dissertation defends the view that concepts encode causal information and, for the first time, applies this view to a range of topics in the philosophy of language and social philosophy. In my first chapter (“Cognitive Essentialism and the Structure of Concepts”), I survey the current empirical and theoretical literature on causal-essentialist theories of concepts. In my second chapter (“Meaning Externalism and Causal Model Theory”), I propose an account of natural kind concepts according to which they encode statistical information of (...) features of a natural kind, and represents these features as causally related to each other. I show that this internalist model of concepts correctly predicts intuitions about Putnam’s twin earth scenario and Kripke’s conceivability cases that historically motivated philosophers of language to accept externalist accounts of meaning. The defended theory of concepts also informs topics that go beyond traditional issues in philosophy of language. In my third chapter (“An Essentialist Theory of the Meaning of Slurs”), I defend the view that slurs are, too, a species of kind terms: slur concepts encode mini-theories which represent an essence-like element that is causally connected to a set of negatively-valenced stereotypical features of a social group. This explains both the peculiar linguistic behavior of slurs and slurs’ dehumanizing effects. In my fourth chapter, I build on this insight, showing that the explicit language in and around pornography depicts women as ‘kinds’ or ‘breeds’ that are naturally made to enjoy certain sexual acts, and argue that this deterministic picture of women dehumanizes them. (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 that 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.

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 desensitized 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 organize 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 overgeneralized and exaggerated, and that porn has a range of effects unable to be captured by a mere pro/anti dichotomy. (shrink)

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)

Rae Langton famously argues that pornographic speech illocutionarily subordinates and silences women. Making good this view hinges on identifying the context relevant for fixing such force. To do so, a parallel is typically drawn between pornographic recordings and multipurpose signs involved in delayed communication, but the parallel generates a dispute about the right illocutionary force-fixing context. Jennifer Saul and myself argue that if pornographic speech is akin to multipurpose signs, its illocutionary force is fixed by the actual decoding context: of (...) using/viewing pornographic recordings. By contrast, Claudia Bianchi argues that the relevant context is intended/expected decoding. Here I take issue with Bianchi’s view. Her intentionalist account faces two serious objections. First, the collapse objection: Bianchi’s intentionalist view is so formulated that it collapses into that endorsed by Saul and me. This undermines Bianchi’s case against us. Second, the dissonance objection: looking at a different aspect of Bianchi’s view, and one that does depart from the positions of Saul and myself, shows that her analysis is too intentionalist and cannot be used to elucidate pornography’s illocutionary force. Bianchi’s view should hence be rejected. This nevertheless leaves open further theoretical avenues of research, which I briefly discuss at the end of the paper. (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)

Just in time for the 25th anniversary of this classic text, Judith Grant updates her challenge to what she calls the hyphenated model of feminist theory. Including new material on intersectionality, postmodernism, and global feminisms, Grant provides new introductions to every chapter as well as a new introduction and conclusion to the entire text, plus will recruit an esteemed Foreword author to reintroduce the new edition to the latest generation of feminist students and scholars. In Fundamental Feminism, Judith Grant explores (...) the evolution of feminist theory as well as the state of today's feminist thought. Pointing to the main problems within feminism, Grant calls for a substantial revision of the core concepts responsible for shaping today's feminist theory. Grant identifies and critiques three core concepts in feminist theory--"woman," "experience," and "personal politics"--from their origins in pamphlets and writings in the early women's liberation movement to their current construction in feminist thought. She connects a number of key debates in feminism today to the longstanding influence of these core assumptions. These debates include the hegemony of the white female perspective, the tension between anti-pornography and pro-sex feminists, and the challenges presented by postmodernism. Fundamental Feminism is provocative reading for anyone interested in the future of feminist theory and the power of feminist politics. (shrink)

Bad Attitude(s) on Trial is a critical analysis of pornography in the context of contemporary Canada. The notion that pornography both reflects sexual domination and 'victimizes' women has recently found expression in law in the landmark Canadian Supreme Court decision of R. v. Butler (1992). Many feminists embrace this new law as progressive, but in the post-Butler years, straight, mainstream pornography is still flourishing, while sexual representations that challenge conventional notions of sexuality, such as those centering on gay and lesbian (...) sex and s/m sex, are the focus of censorship. It is the censorship of sexual others that the authors critique from a legal, cultural, gay, and philosophical standpoint. Lise Gotell examines the intervention of the Women's Legal Education and Action Fund (LEAF) in the Butler decision and provides an overview of socio-legal debates on pornography and censorship. Brenda Cossman examines the Butler decision itself and challenges the dominant reading of this case as a feminist victory. Becki Ross critically examines the expert testimony she delivered in defense of Bad Attitude, an American lesbian sex magazine seized by police from Glad Day Bookshop in Toronto in 1992. She details the difficulties she encountered in explicating and contextualizing the specificities, nuances, and complexities of lesbian s/m fantasy in a court of law. In the final chapter, Shannon Bell advances a conception of pornography that is not distinguishable from philosophy, using philosophy to make pornography. Bad Attitude(s) on Trial provides a new debate on pornography and feminism. It will be of particular interest to students of both women's, and gay and lesbian issues, but will also be relevant for scholars of law, political science, and philosophy, as well as for anyone interested in a different, provocative view of the Butler decision. (shrink)

How sexuality should be regulated in a liberal political community is an important, controversial theoretical and empirical question—as shown by the recent criminalization of possession of some adult pornography in the United Kingdom. Supporters of criminalization argue that Mill, often considered a staunch opponent of censorship, would support prohibition due to his feminist commitments. I argue that this account underestimates the strengths of the Millian account of private conduct and free expression, and the consistency of Millian anticensorship with feminist values. (...) A Millian contextual defense of liberty, however, suggests several other policy approaches to addressing the harms of pornography. (shrink)

Using a combination of semantic theory and findings from conversation analysis, this paper describes a way in which questions, which incorporate presuppositions that are false, when used in a courtroom cross-examination wherein there are certain turn-taking rules, rights and restrictions, stop a rape victim from expressing the content that she wants to express in that context. This kind of silencing contrasts with other kinds of silencing that consist in the disabling of a speech act's force, rather than precluding the expression (...) of certain contents. -/- Content Note: there are explicit descriptions of sexual violence in this paper. (shrink)

How does pornography subordinate on the basis of gender? I provide part of an answer in this paper by framing subordination as something that works through everyday classification. Under certain material and social conditions, pornography classifies people through labeling them in ways that connect to structures of oppression. I hope to show two things. First, pornographic content is not the major driving force behind pornography’s subordination of women. Second, pornography, when repurposed in new ways, carries the potential to counter the (...) ill effects of other kinds of pornography, as feminist pornographers have attempted to show through their words and actions. (shrink)

Jason Stanley’s How Propaganda Works characterises and explores one democratically problematic kind of propaganda, ‘undermining propaganda’, which involves ‘[a] contribution to public discourse that is presented as an embodiment of certain ideals, yet is of a kind that tends to erode those very ideals’. Stanley’s model for how undermining propaganda functions is Rae Langton and Caroline West’s treatment of moves in pornographic language games. However, Stanley doesn’t consider whether his theory of propaganda might in turn illuminate the harmful nature of (...) pornography, in light of the familiar contention that some pornography acts as a kind of misogynistic propaganda. Drawing on Catharine MacKinnon’s writings on pornography, this paper will explore one way of developing the claim that pornography sometimes functions as undermining propaganda, in something close to Stanley’s sense. Moreover, I will suggest that the discussion points to a new response to the so-called authority problem for Rae Langton’s silencing argument against the protected status of pornography.El libro de Jason Stanley How Propaganda Works caracteriza y explora un tipo de propaganda democráticamente problemático, la ‘propaganda debilitadora’, que envuelve ‘[una] contribución al discurso público que se presenta como si incorporase determinados ideales, pero que es de un tipo que tiende a erosionar esos mismos ideales’. El modelo de Stanley para el funcionamiento de la propaganda debilitadora es el del tratamiento de los movimientos en los juegos de lenguaje pornográficos debido a Rae Langton y Caroline West. Sin embargo, Stanley no reflexiona acerca de si su teoría sobre la propaganda podría, a su vez, iluminar la dañina naturaleza de la pornografía, a la luz de la conocida tesis de que hay pornografía que actúa como una forma de propaganda misógina. A partir de los trabajos de Catharine MacKinnon sobre pornografía, este artículo pretende explorar una forma de desarrollar la tesis de que la pornografía funciona en ocasiones como propaganda debilitadora, en un sentido próximo al de Stanley. Además, sugeriré que la discusión apunta a una nueva respuesta al llamado problema de la autoridad en relación con el argumento del silenciamiento debido a Rae Langton en contra de un estatuto de protección para la pornografía. (shrink)

For a few years in the 1980s, Andrea Dworkin’s Pornography: Men Possessing Women appeared to have changed the intellectual landscape – as well as some people’s lives. Pornography, she argued, not only constitutes violence against women; it constitutes also the main conduit for such violence, of which rape is at once the prime example and the central image. In short, it is patriarchy’s most powerful weapon. Given that, feminists’ single most important task is to deal with pornography. By the early (...) 1990s, however, the consensus had become that her project was a diversion, both politically and intellectually. Today, who would argue that pornography is a crucial political issue? I shall argue that Dworkin has in fact a great deal to teach us – perhaps even more today, as we are going through the neo-liberal revolution, than thirty years ago. Her argument is not a causal one, despite in places reading as if it were. The legal route she chose as the ground on which to fight may well be a dead end, but that does nothing to undermine the force of her analysis. Nor does the fact that she makes arguments that might not be recognized as professionally philosophical or social scientific undermine their substantive force. It may even be that pornography itself is not the sole key she thought it was to understanding and dealing with political realities; but even if that were so, the form of her analysis, far from rhetorical and/or fallacious, is exactly what is needed to counter the depredations of neo-liberal “common sense”. That she herself found it difficult to find a language beyond that of liberalism to express her argument is no reason either for ignoring or misinterpreting it. (shrink)

Lack of consent is valorized within popular culture to the point that sexual assault has become a spectator sport and creepshot entertainment on social media. Indeed, the valorization of nonconsensual sex has reached the extreme where sex with unconscious girls, especially accompanied by photographs as trophies, has become a goal of some boys and men.

Giorgio Agamben’s concepts of ‘the sovereign’, ‘state of exception’ and ‘bare life’ have been used by political theorists, particularly since the declaration of the Global War on Terror and during the more recent age of wars of humanitarian intervention, to conceptualize the sovereignty exercised by security states. These state processes have been mirrored by absolutization within some branches of political theory, conflating Foucauldian concepts of biopolitical sovereignty and circulatory governmentality with notions of absolutist rule, and narrowing optics for interpreting popular (...) mobilizations around gendered ‘human security’ projects, emergency regimes and moralizing repression. Suggesting more productive directions for theory, this article generates a close reading of female activists working in an unexpected industry in Egypt who have struggled to invert and subvert absolutist and moralizing framings and have generated their own theory through practice. The ‘Natashas of Cairo’ – well organized and transnationally linked belly dancers – successfully promoted gendered popular sovereignty in remarkable campaigns between 2002 and 2006, utilizing personal-rights litigation to create frameworks to render the absolutist state more accountable; establish labor solidarities that crossed international boundaries as well as class boundaries; and articulate an alternative moral regime for dance work that rejected both ‘pornification’ and the ‘respectability politics’ of professionalization. (shrink)

Since its influential rendering by Rae Langton in her 1993 paper, “Speech Acts and Unspeakable Acts,” the “silencing argument” against pornography has become the subject of a lively debate that continues to this day. My intention in this paper is not to join in the existing debate, but to give a critical overview of it. In its current form, I suggest, it is going nowhere . Yet the silencing argument, I believe, nevertheless contains an indispensable insight—and more radical potential than (...) is usually acknowledged either by its defenders or its opponents. I argue that in order to preserve this insight and unleash its potential, we should begin by adopting the following motto: MacKinnon, not Austin! (shrink)

Catharine MacKinnon claims that pornography silences women in a way that violates the right to free speech. This claim is, of course, controversial, but if it is correct, then the very free speech reasons for protecting pornography appear also to afford reason to restrict it. For this reason, it has gained considerable attention. The philosophical literature thus far focuses on a type of silencing identified and analyzed by Jennifer Hornsby and Rae Langton (H&L). This article identifies, analyzes, and argues for (...) the importance of a different type of silencing. As we shall see, there are compelling reasons in favor of regarding H&L silencing as a free speech violation and, as I argue here, the same can be said for sincerity silencing. Although additional work needs to be done to show that either one actually is a free speech violation, I demonstrate here that both types of silencing equally warrant this further attention. Moreover, I show that sincerity silencing is a fairly widespread phenomenon; so, therefore, is the harm it constitutes. As a result of these considerations, then, we can safely conclude that sincerity silencing also requires our attention. (shrink)

Now that pornography is on the Internet, its political and social functions have changed. So contends Margret Grebowicz in this imperative philosophical analysis of Internet porn. The production and consumption of Internet porn, in her account, are a symptom of the obsession with self-exposure in today's social networking media, which is, in turn, a symptom of the modern democratic construction of the governable subject as both transparent and communicative. In this first feminist critique to privilege the effects of pornography's Internet (...) distribution rather than what it depicts, Grebowicz examines porn-sharing communities and the politics of putting women's sexual pleasure on display as part of the larger democratic project. Arguing against this project, she shows that sexual pleasure is not a human right. Unlikely convergences between thinkers like Catherine MacKinnon, Jean Baudrillard, Judith Butler, and Jean-François Lyotard allow her to formulate a theory of the relationships between sex, speech, and power that stands as an alternative to such cyber-libertarian mottos as "freedom of speech" and "sexual freedom.". (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)

This book marks a radical and powerful intervention in traditional arguments about pornography. Kappeler re-examines the artistic distinctions between fantasy and reality, pornography and erotica, and challenges the legal definition of obscenity as well as the intellectual defence of 'freedom of expression'. By linking images of actual violence with the imaginative portrayal of women in the realm of the aesthetic, she establishes vital connections between modes of representation and social forms of power and domination. It is essential reading for anyone (...) concerned with issues of pornography and sexual politics and related debates in literary criticism and cultural studies. (shrink)

We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...) satirical movie such as Dr. Strangelove does not morally educate in the same way as a realistic series such as The Wire. We argue that this is also true of pornography: inegalitarian depictions of sex are not invariably responsible for consumers' adoption of inegalitarian attitudes toward sex in reality. Given that pornographic works of different genres may harm in different ways, different feminist criticisms are appropriate for different genres of pornography. (shrink)

The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...) but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)

This essay discusses Rae Langton’s recent collection of essays, Sexual Solipsism: Philosophical Essays on Pornography and Objectification. After introducing some of the major themes of the collection, I raise questions about two of the central concepts in the book. The first question has to do with Langton’s notion of subordination. I ask why she takes pornography to be a subordinating speech act, rather than a subordinating practice, and argue that the latter view has several advantages. The remaining questions have to (...) do with Langton’s notion of objectification. Looking first at the moral dimension of objectification, I raise some concerns about Langton’s strategy for distinguishing instances of objectification from non-instances. Then, turning to Langton’s discussion of the epistemic dimension of objectification, I ask under what circumstances certain belief-forming mechanisms, such as desire-driven projection, are objectifying, on her view. (shrink)

Philosophers involved in the ‘porn-or-art’ debates standardly assume that pornography is centrally about sexual arousal, while art is about something else. I argue against this assumption and for the view that there is no single thing that pornography (or art) ‘is about’. This suggests that there is no prima facie reason for claiming that some x cannot be both pornography and art. I further go on to develop an understanding of (what I call) ‘porno-art’ - a wholly new kind of (...) thing developing from the extant categories of pornography and art, but still distinct and separate from them. (shrink)

Over the past thirty years, academic debate over pornography in the discourses of feminism and cultural studies has foundered on questions of the performative and of the word's definition. In the polylogue of Droit de regards, pornography is defined as la mise en vente that is taking place in the act of exegesis in progress. (Wills's idiomatic English translation includes an ‘it’ that is absent in the French original). The definition in Droit de regards alludes to the word's etymology (writing (...) by or about prostitutes) but leaves the referent of the ‘sale’ suspended. Pornography as la mise en vente boldly restates the necessary iterability of the sign and anticipates two of Derrida's late arguments: that there is no ‘the’ body and that performatives may be powerless. Deriving a definition of pornography from a truncated etymology exemplifies the prosthesis of origin and challenges other critical discourses to explain how pornography can be understood as anything more than ‘putting (it) up for sale’. (shrink)

In a recent and provocative essay, Christopher Bartel attempts to resolve the gamer’s dilemma. The dilemma, formulated by Morgan Luck, goes as follows: there is no principled distinction between virtual murder and virtual pedophilia. So, we’ll have to give up either our intuition that virtual murder is morally permissible—seemingly leaving us over-moralizing our gameplay—or our intuition that acts of virtual pedophilia are morally troubling—seemingly leaving us under-moralizing our game play. Bartel’s attempted resolution relies on establishing the following three theses: (1) (...) virtual pedophilia is child pornography, (2) the consumption of child pornography is morally wrong, and (3) virtual murder is not murder. Relying on Michael Rea’s definition of pornography, I argue that we should reject thesis one, but since Bartel’s moral argument in thesis two does not actually rely thesis one that his resolution is not thereby undermined. Still, even if we grant that there are adequate resources internal to Bartel’s account to technically resolve the gamer’s dilemma his reasoning is still unsatisfying. This is so because Bartel follows Neil Levy in arguing that virtual pedophilia is wrong because it harms women. While I grant Levy’s account, I argue that this is the wrong kind of reason to resolve the gamer’s dilemma because it is indirect. What we want is to know what is wrong with virtual child pornography itself. Finally, I suggest alternate moral resources for resolving the gamer’s dilemma that are direct in a way that Bartel’s resources are not. (shrink)

I discuss a recent notable attempt to sharply distinguish pornography from erotic art, and argue that the attempt fails. I then turn to methodological questions about how we ought to go about defining ‘pornography’, questions which lead quickly to others about why we want such a definition. I believe that philosophers of art can make important contributions to this definitional project, but only if their contributions are informed by recent work in feminism, philosophical analysis, and art history.

The central argument of Ann Cahill’s Overcoming Objectification is that the concept of sexual objectification should be replaced by Cahill’s concept of derivatization in order to better capture the wrongness of degrading images and practices without depending on an objectionably narrow and disembodied conception of self. To derivatize someone is not to treat her as a non-person, but rather to treat her as a derivative person, reducing her to an aspect of another’s being. Although not perfect, Cahill’s approach advances the (...) conversation about what we should find objectionable in certain types of sexual representations and interactions by helping us to talk about sex in a way that does not start from the presupposition that physical expressions of sexuality are inherently debasing. I describe the thesis of the book, how I used it in my Philosophy and Women course, and some criticisms that I have and that arose from class discussion. (shrink)

This paper is a critique of pornography from within the framework of Heideggerian phenomenology. I contend that pornography is a pernicious form of technological discourse in which women are reduced to spectral and anonymous figures fulfilling a universal role, namely that of sexual subordination. Further, the danger of pornography is covered over in the public sphere as a result of the pervasive appeal to its status as mere fantasy. I argue that relegating the problem to the domain of fantasy is (...) superficial and specious at best, inasmuch as fantasy itself is ultimately grounded in everyday reality. When not concealed as innocuous “fantasy,” pornography has been defended under the rubric of “free speech.” One of my aims is to repudiate this approach by revealing it as grounded in a highly suspect and self-contradictory phallocentric view of language. Rae Langton’s recently published collection of essays on pornography attacks the problem largely in terms of “objectification” and the Austinian notion of “illocutionary disablement” from a position of authority. In this paper, I too confront the issues of language, objectification, and authority, but as articulated by means of Heidegger’s critique of technology. (shrink)

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)

The debate about pornography has been a debate about censorship as a way of reducing circulation. Three waves of anti-pornography thinking have reached for censorship. The First Wave invoked the Family Values familiar from religious rhetoric, the Second and Third Waves were both were motivated by feminist considerations. All thought they could justify the imposition of censorship. But even if such an imposition could be justified, should we want censorship anyway? I argue that censorship does not reduce the circulation of (...) pornography. Instead, I propose developing an alternative, informed by the Second and Third Waves, which relies on educating consumers in order to reduce the circulation of pornography. This could be the basis for a Fourth, truly effective, Wave. (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 chapter considers whether ordinary instances of racist hate speech can be authoritative, thereby constituting the subordination of people of color. It is often said that ordinary speakers cannot subordinate because they lack authority. Here it is argued that there are more ways in which speakers can come to have authority than have been generally recognized. In part, this is because authority has been taken to be too closely tied to social position. This chapter presents a series of examples which (...) show that speaker authority needn’t derive from social position at all. Moreover, these examples also show that a speaker can come to have authority even when they lack it prior to speaking. After distinguishing these different ways in which speakers can come to have authority, it is argued that there is ample reason to think that even producers of ordinary instances of racist hate speech can sometimes have authority in these ways. (shrink)

One striking feature of pornographic images is that they emphasize what is depicted and underplay the way it is depicted: the experience of pornography rarely involves awareness of the picture’s composition or of visual rhyme. There are various ways of making this distinction between what is depicted in a picture and the way the depicted object is depicted in it. Following Richard Wollheim, I call these two aspects, the ‘what’ and ‘how’ of pictorial representation ‘recognitional’ and ‘configurational’, respectively. Some pictures (...) emphasize one of these aspects while underplaying the other. Pornographic pictures try to trigger as little attention to the ‘configurational’ aspect as possible. Instead of examining pornography, where the ‘configurational’ aspect of experience is underplayed, I focus on a historical attempt to create images of the female body where the ‘recognigional’ element is the one that is underplayed and the ‘configurational’ elements of the picture form an essential part of our experience. The pictures I have in mind are André Kertész’s series of photographs from 1933, called Distortions. I argue that Kertész’s Distortions are in this respect the counterpoint of pornography: they may be the least pornographic representations of the female nude. Instead of ignoring the ‘configurational aspects of the picture, making the picture transparent and fully at the service of showing the female body and thus to trigger arousal, Kertész aims to achieve the exact opposite. His photographs strip the female body of all its sexual connotations and draw our attention to the formal features of the picture – which is quite a feat in the light of the subject matter of these pictures that normally draw our attention away from the formal features of pictures. (shrink)