The concept of the gesture is explored in relationship with its moral significance rather than, for example, its aesthetic significance. It is argued that the concept can be used in order to make clear how morality relates to the body. This is not to suggest that gestures can be neatly defined. On the contrary, they always seem to be ambivalent and somewhat nebular. However, it will be shown that some of their significance might well be related to popular concepts such (...) as ‘transparency’, ‘authenticity’, ‘integrity’ and ‘responsibility’. In order to make this clear, the role of some particular gestures in politics and organizational life, most notably ‘apology’ and ‘trust’, will be discussed throughout the paper. (shrink)

Although the ethics of humor is a relatively new field, it already seems to have achieved a consensus about ethics in general. In this paper, I implicitly (1) question the view of ethics that stands behind many discussions in the ethics of humor; I do this by explicitly (2) focusing on what has been a chief preoccupation in the ethics of humor: the evaluation of humor. Does the immoral content of a joke make it more or less humorous? Specifically, I (...) analyze whether a sexist joke is more humorous because of its sexism. Contra recent trends in the ethics of humor, I answer this question affirmatively. To this end, the paper presents a detailed and novel reading of Bergson's philosophy of humor, which I argue connects most easily and significantly to the alternate view of ethics I have in mind. (shrink)

Over the past two decades, a growing number of large multinational corporations have come to view philanthropy as an important part of their business operations. This has stimulated research on the many different strategies that are pursued by these corporations in their attempts to become more philanthropic while remaining economically responsible. In this situation, some researchers have argued, corporations run the risk of being caught out as hypocrites. Through an analysis of the corporate social responsibility reports of the biggest multinational (...) corporations, this article shows how the risk of hypocrisy is managed communicatively through the use of euphemisms. The article argues that the use of euphemisms makes it possible to communicate both economically and philanthropically without manifest contradictions. Euphemisms, however, are also risky in their own right. (shrink)

‘Incongruity is never superfluous’Thea Arbee (2016) Is the superfluous a (new) modality?11. Even if much has been written about ingredients that trigger laughter, researchers are still far from hav...

There are several strategies for exposing the defects of established moral discourse, one of which is critical argumentation. However, under certain specific historical circumstances, the apparent self-evidence of established moral discourse has gained such dominance, such a capacity of resistance or incorporation, such an ability to conceal its basic vulnerability that its validity simply seems beyond contestation. Notwithstanding the moral subject’s basic discontent, he or she remains unable to challenge the dominant discourse effectively by means of critical argument. Or, to (...) borrow a phrase from Michel Foucault, individuals find themselves faced with a certain rationality, a moral regime that dominates moral discourse to such an extent that they cannot offer any resistance without raising the suspicion of being unreasonable. They (that is, we) find ourselves confronted with a discourse quite unable to recognize its own deficiencies. Although we are forced to accept its basic claims, our chronic discontent nevertheless persists. That is, although we are forced to participate in this discourse, we remain basically ambivalent, and our attitude towards established morality contains both a Yes and a No. Then, all of a sudden, the basic vulnerability of the dominant regime dawns on us or is revealed to us – and this is the experience of laughter. (shrink)

L’intérêt que Bergson porte aux arts est bien connu. À travers l’ensemble de son œuvre, les exemples souvent inspirés par la littérature et la lecture semblent révéler une certaine affinité pour cette forme d’art. Pourtant, malgré sa récurrence, ce thème n’est jamais étudié frontalement ni profondément. Cette brève étude se veut un tour d’horizon du répertoire bergsonien, une recherche d’éléments qui permettraient peut-être d’articuler une pensée bergsonienne de la lecture. Plus précisément, nous examinons les exemples utilisés par Bergson pour illustrer (...) les notions de suggestion, d’attention et de sympathie, pour déterminer si ces descriptions du phénomène de lecture ne sont que des exemples, ou s’ils ont une valeur philosophique propre. (shrink)