Though feminists are correct to note that conventional standards of sexiness are oppressive, we argue that feminism should reclaim sexiness rather than reject it. We argue for an aesthetic and ethical practice of working to shift from conventional attributions of sexiness to respectful attributions, in which embodied sexual subjects are appreciated in their full individual magnificence. We argue that undertaking this practice is an ethical obligation, since it contributes to the full recognition of others’ humanity. We discuss the relationship of (...) ethical to aesthetic considerations and argue that the respectful notion of sexiness is a genuinely aesthetic one, even though it does not involve assessment in relation to standards. (shrink)

In this article, I consider the standard interpretation of the superiority theory of humor attributed to Plato, Aristotle, and Hobbes, according to which the theory allegedly places feelings of superiority at the center of humor and comic amusement. The view that feelings of superiority are at the heart of all comic amusement is wildly implausible. Therefore textual evidence for the interpretation of Plato, Aristotle, or Hobbes as offering the superiority theory as an essentialist theory of humor is worth careful consideration. (...) Through textual analysis I argue that not one of these three philosophers defends an essentialist theory of comic amusement. I also discuss the way various theories of humor relate to one another and the proper place of a superiority theory in humor theory in light of my analysis. (shrink)

Jonathan Neufeld proposes a concept of aesthetic disobedience that parallels the political concept of civil disobedience articulated by John Rawls in A Theory of Justice. The artistic transgressions he calls aesthetic disobedience are distinctive in being public and deliberative in their aim to bring about specific changes in accepted artworld norms. We argue that Neufeld has offered us valuable insight into the dynamic and potent nature of art and the artworld; however, we contend that Neufeld errs by constraining aesthetic disobedience (...) to the artworld. Through a reconsideration of the parallel between aesthetic and civil disobedience, we illustrate how aesthetic disobedience is more accurately conceived of in terms of two kinds of acts: artistic and artworld. In addition to artistic disobedience and artworld disobedience, we add a broader and more diverse sort of transgressive aesthetic disobedience. Our aim is to articulate how Neufeld’s account of a kind of disobedience in the artworld that parallels civil disobedience can prove even more generative. (shrink)

The essays in the final section explicitly bring together aesthetics, ethics, and environmentalism to explore the ways in which each might affect the others.

Environmentalists can make individuals more eco-friendly by dispelling many of the myths and misconceptions about the natural world. By learning what in nature is and is not dangerous, and in what contexts the danger is real, individuals can come to aesthetically appreciate seemingly unappreciable nature. Since aesthetic attraction can be an extremely valuable tool for environmentalists, with potentialbeyond that of scientific education, the quest for an eco-friendly is neither unnecessary nor redundant. Rather, an eco-friendly aesthetic ought to be pursued in (...) conjunction with other efforts to protect nature. (shrink)

The Southern Journal of Philosophy, EarlyView.

Land art requires careful evaluation when assessing its aesthetic and ethical value. Critics of land art charge that it is unethical in that it uses nature without such use being justified by some future good. Other critics charge that land art harms nature aesthetically. In this essay, the author canvasses these charges and argues that some land art is ethically and aesthetically defensible, and that some has great and rare potential in both realms.

Violent conflict between individuals and groups was as common in the ancient world as it has been in more recent history. Detested in theory, it nevertheless became as frequent as war between sovereign states. The importance of such ‘_stasis_’ was recognised by political thinkers of the time, especially Thucydides and Aristotle, both of whom tried to analyse its causes. Violence, Civil Strife and Revolution in the Classical City, first published in 1982, gives a conspectus of _stasis_ in the societies of (...) Greek antiquity, and traces the development of civil strife as city-states grew in political, social and economic sophistication. Aristocratic rivalry, tensions between rich and poor, imperialism and constitutional crisis are all discussed, while special consideration is given to the attitudes of the participants and the theoretical explanations offered at the time. In conclusion, civil strife in the ancient world is compared to more recent conflicts, both domestic and international. (shrink)

In this paper, I argue that one of the most intense ways women are encouraged to enjoy sublime experiences is via attempts to control their bodies through excessive dieting. If this is so, then the societal-cultural contributions to the problem of eating disorders exceed the perpetuation of a certain beauty ideal to include the almost universal encouragement women receive to diet, coupled with the relative shortage of opportunities women are afforded to experience the sublime.

Philosophical inquiry into pregnancy, childbirth, and mothering is a growing area of interest to academic philosophers. This volume brings together a diverse group of philosophers to speak about topics in this reemerging area of philosophical inquiry, taking up new themes, such as maternal aesthetics, and pursuing old ones in new ways, such as investigating stepmothering as it might inform and ground an ethics of care. The theoretical foci of the book include feminist, existential, ethical, aesthetic, phenomenological, social and political theories. (...) These perspectives are then employed to consider many dimensions of pregnancy, childbirth, and mothering, which are of central importance to human existence, but are only rarely discussed in philosophical cannons. Topics include pregnancy and embodiment, breast-feeding, representations – or the lack thereof – of pregnant and birthing women, adoption, and post-partum motherhood. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Adjudicating the Debate Over Two Models of Nature AppreciationSheila Lintott (bio)It seems commonplace to point out that we aesthetically appreciate a wide variety of objects: that is, art objects are not the only good candidates for aesthetic appreciation.1 We know from experience that one can aesthetically appreciate not only Georgia O'Keefe's White Trumpet Flower, but also a white trumpet flower. Similarly, we can aesthetically appreciate both a pictorial representation (...) of the human form and that form instantiated in certain prime specimens. We do so, moreover, without classifying either flowers or human beings as art objects. Yet, the paradigm of aesthetic appreciation today, in both everyday life and in educative contexts, is the appreciation of art, which explains why we tend to try to understand what makes aesthetic appreciation appropriate in terms of what makes art appreciation appropriate. This approach may not be entirely mistaken, for beginning with the familiar is always a good plan. However, it must be done with care, otherwise important differences between our relationships with the art we appreciate and with the nature we appreciate may be overlooked, thereby obscuring salient differences in the appreciation of each.In this essay, I focus on the issue of the appropriate aesthetic appreciation of nature and offer an overview of a contemporary debate on the topic. I begin with a general discussion of art and nature appreciation. I then summarize Kendall Walton's theory of appropriate art appreciation and explain his skepticism regarding the possibility of appropriate and inappropriate nature appreciation. Next, I discuss two models according to which Walton is mistaken, as the philosophers who present these models, Allen Carlson and Noël Carroll, do so to illustrate how nature appreciation can be properly considered appropriate or inappropriate. It may seem that given the recent proliferation of models of nature appreciation, the last thing we should seek is yet another model. However, in the end, I shall argue the need for a new and different kind of model, one that is a revisionist and extensionist model of nature appreciation. [End Page 52]Art and Nature AppreciationConcerning the perceptual activity of the audience, how we ought to appreciate artworks is largely uncontroversial. Perhaps this is why Carlson opens his attempt to understand the aesthetic appreciation of nature with a presentation of the aesthetic appreciation of art, explaining that "with art objects there is a straightforward sense in which we know both what and how to aesthetically appreciate."2 Although not all artworks offer "straightforward" examples of aesthetic appreciation, Carlson's general point is reasonably motivated. As Kendall Walton succinctly explains: "Paintings and sculptures are to be looked at; sonatas and songs are to be heard. What is important about these works of art, as works of art, is what can be seen or heard in them."3 That we ought to look at paintings and listen to sonatas seems obvious for at least two reasons. First, via formal education and informal interactions, we have grown familiar with the conventions of art appreciation; second, such conventions find experiential reinforcement when, for example, our auditory sense is tickled by a Mozart concerto.4Underlying our relative lack of confidence when it comes to nature appreciation is the obvious fact that nature, unlike art, is not an artifact. Nature was not made by beings like us; it was made neither for our use, nor for our entertainment, nor for our appreciation.5 As Carlson puts it, "art objects are our own creations; it is for this reason that we know what is and what is not part of a work, which of its aspects are of aesthetic significance, and how to appreciate them" (ANE, 41). We need, therefore, a model of nature appreciation that will serve as a source of education regarding how best to appreciate nature and will offer the confidence we lack and the guidance we seek.It might seem that we should simply apply our knowledge of art to nature appreciation — that is, appreciate nature as if it were art. However, as numerous philosophers have noticed, this approach is mistaken.6 The mistake is both theoretical and practical. Theoretically, it is a category error... (shrink)

Feminist philosophy has taken too long to engage seriously with aesthetics and has been even slower in confronting natural beauty in particular. There are various possible reasons for this neglect, including the relative youth of feminist aesthetics, the possibility that feminist philosophy is not relevant to nature aesthetics, the claim that natural beauty is not a serious topic, hesitation among feminists to perpetuate women's associations with beauty and nature, and that the neglect may be merely apparent. Discussing each of these (...) possibilities affords a better understanding of, but none justify the neglect of natural beauty in feminist aesthetics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Adjudicating the Debate Over Two Models of Nature AppreciationSheila Lintott (bio)It seems commonplace to point out that we aesthetically appreciate a wide variety of objects: that is, art objects are not the only good candidates for aesthetic appreciation.1 We know from experience that one can aesthetically appreciate not only Georgia O'Keefe's White Trumpet Flower, but also a white trumpet flower. Similarly, we can aesthetically appreciate both a pictorial representation (...) of the human form and that form instantiated in certain prime specimens. We do so, moreover, without classifying either flowers or human beings as art objects. Yet, the paradigm of aesthetic appreciation today, in both everyday life and in educative contexts, is the appreciation of art, which explains why we tend to try to understand what makes aesthetic appreciation appropriate in terms of what makes art appreciation appropriate. This approach may not be entirely mistaken, for beginning with the familiar is always a good plan. However, it must be done with care, otherwise important differences between our relationships with the art we appreciate and with the nature we appreciate may be overlooked, thereby obscuring salient differences in the appreciation of each.In this essay, I focus on the issue of the appropriate aesthetic appreciation of nature and offer an overview of a contemporary debate on the topic. I begin with a general discussion of art and nature appreciation. I then summarize Kendall Walton's theory of appropriate art appreciation and explain his skepticism regarding the possibility of appropriate and inappropriate nature appreciation. Next, I discuss two models according to which Walton is mistaken, as the philosophers who present these models, Allen Carlson and Noël Carroll, do so to illustrate how nature appreciation can be properly considered appropriate or inappropriate. It may seem that given the recent proliferation of models of nature appreciation, the last thing we should seek is yet another model. However, in the end, I shall argue the need for a new and different kind of model, one that is a revisionist and extensionist model of nature appreciation. [End Page 52]Art and Nature AppreciationConcerning the perceptual activity of the audience, how we ought to appreciate artworks is largely uncontroversial. Perhaps this is why Carlson opens his attempt to understand the aesthetic appreciation of nature with a presentation of the aesthetic appreciation of art, explaining that "with art objects there is a straightforward sense in which we know both what and how to aesthetically appreciate."2 Although not all artworks offer "straightforward" examples of aesthetic appreciation, Carlson's general point is reasonably motivated. As Kendall Walton succinctly explains: "Paintings and sculptures are to be looked at; sonatas and songs are to be heard. What is important about these works of art, as works of art, is what can be seen or heard in them."3 That we ought to look at paintings and listen to sonatas seems obvious for at least two reasons. First, via formal education and informal interactions, we have grown familiar with the conventions of art appreciation; second, such conventions find experiential reinforcement when, for example, our auditory sense is tickled by a Mozart concerto.4Underlying our relative lack of confidence when it comes to nature appreciation is the obvious fact that nature, unlike art, is not an artifact. Nature was not made by beings like us; it was made neither for our use, nor for our entertainment, nor for our appreciation.5 As Carlson puts it, "art objects are our own creations; it is for this reason that we know what is and what is not part of a work, which of its aspects are of aesthetic significance, and how to appreciate them" (ANE, 41). We need, therefore, a model of nature appreciation that will serve as a source of education regarding how best to appreciate nature and will offer the confidence we lack and the guidance we seek.It might seem that we should simply apply our knowledge of art to nature appreciation — that is, appreciate nature as if it were art. However, as numerous philosophers have noticed, this approach is mistaken.6 The mistake is both theoretical and practical. Theoretically, it is a category error... (shrink)

There are two main types of question which arise from Aristotle's treatment of democracy, as from all other major topics which we find in that part of the Politics which is related to empirical data about political behaviour . One type is primarily philosophical: ‘Is Aristotle's analysis logically coherent, is it consistent with his data, is it convincing?’ The other is more historical, though it has philosophical importance too: ‘From where does he derive his data, from where his views ? (...) Has he done justice to the historical events that he adduces and to the opinions of men that he cites as evidence for political and ethical norms?’ Although in this paper I have a special interest in questions of the second type regarding the nature of the data, they cannot be tackled satisfactorily without considering the nature and validity of the analysis of democracy. (shrink)

In 88 B.C. the dying embers of the Social War kindled an even more dangerous civil war. Violence with gangs was no longer the final solution in Roman political struggles, but war with a regular army took its place. The link between the two wars and the critical escalation of political conflict was created by the tribunate of P. Sulpicius Rufus. Most modern accounts differ little in describing the sequence of events in his tribunate, though they vary in the interpretation (...) of his motives and policy. They agree because they accept the common basis to the narratives of Appian, Plutarch, and Velleius as true, even though they usually discard the Tendenz in these authors, through which Sulpicius is portrayed as an unscrupulous man who put his services at Marius’ disposal. It is the aim of this paper to propose that the wheat in these authors cannot be so easily separated from the chaff: that in fact the bias, which is most obvious in Plutarch’s Lives, and there can be largely ascribed to the influence of Sulla’s fjown memoirs, has not only distorted motives but misplaced and misrepresented facts. Important inconsistencies in Appian, when taken in conjunction with the little information we have outside these sources, suggest a different outline for Sulpicius’ tribunate—one which involves more uncertainties than the commonly accepted view, because it is obtained by rejecting the validity of more of our scanty source material, but which may enable us to judge more fairly not only Sulpicius and Marius but also Sulla himself. (shrink)

This chapter contains sections titled: Truth and Falsity Truth and Belief Truth and Correspondence Truth and Coherence Defining and Testing for Truth: Correspondence and Coherence Sources.

Dieter Declercq’s Satire, Comedy, and Mental Health (2021) examines the nature and value of satire, critically reviews familiar ways of construing its value, and mounts an argument for understanding satire’s value in terms of the contributions it can make to our mental health. Declercq has much to say about longstanding debates—for example, over whether satire is a powerful political weapon (vs. a waste of political time and energy) and whether satire functions as a catalyst for needed emotional catharsis (vs. merely (...) a welcome distraction). But the most important contribution Satire, Comedy, and Mental Health makes is to open a new line of enquiry about satire—namely, enquiry into the relationship between satire and mental health—thereby widening the debate over satire’s significance and value. Specifically, Declercq argues that satire is most impressive for how it helps us cope with the limits of critique—that is, with our awareness that unjust suffering will persist despite our very best efforts. Critique cannot cure the world because we do not have endless resources to devote to solving all the world’s problems and righting all the world’s wrongs; even if we did, our efforts will not always be successful. Indeed, in some cases, our efforts might make things worse. We are finite and limited beings who simply cannot perfectly design, create, choreograph, and maintain the perfect utopias we so desire. This refreshingly new perspective makes this book an important addition to the scholarly literature on satire. (shrink)

The complex world of motherhood is here unveiled. Covering issues ranging from whether we should occasionally lie to our children, to the unexpected challenges and complications of being a mother, _Motherhood - Philosophy for Everyone_ offers insightful, serious but often humorous essays that can be enjoyed by everyone - including husbands and fathers. Considers salient philosophical issues relating to pregnancy, birth, babycare, and raising a child Chapters include "The Days and Nights of a New Mother: Existentialism in the Nursery", "The (...) Media Proudly Presents: Lessons' from Celebrity Moms", and "The Off Button: Thought Experiments and Child Control" Contains work from diverse academic perspectives, including economics, psychology, education, English, sociology, women's studies, and theological studies, as well as from nurses and stay-at-home mothers Includes a foreword by Judith Warner, the New York Times columnist and author of _Perfect Madness: Motherhood in the Age of Anxiety_. (shrink)

si quis patriae meae pecuniam credat, non dicam me illius debitorem nec hoc aes alienum profitebor aut candidatus aut reus: ad exsoluendum tamen hoc dabo portionem meam.If anyone were to lend money to my country, I will not call myself his debtor nor will I declare this as money owed either when a candidate or when prosecuted: nevertheless, I will contribute my share to paying off the debt. Miriam Griffin drew attention to the comment of Justus Lipsius: ‘a defendant might (...) have to make such a declaration in cases involving financial penalties, such as extortion and peculation, for when the litis aestimatio [‘assessment of damages’] was made, it would be important to know who the other claimants to the convicted man's assets were, and how encumbered his property was.’ No further elucidation, however, has been made since Lipsius. Mommsen failed to record this passage in his Staatsrecht and Strafrecht, and, as far as we know, no monograph on Roman criminal law mentions the passage of Seneca. (shrink)

Cicero's writings contain a first-hand view of the age of Caesar and Pompey; however, readers need to learn how to interpret and assess the accuracy of what he says. This book is a guide to reading Cicero as historian, and leads readers through his writings, showing how they can be exploited and enjoyed.

Cicero, after a discussion of the value of Cornelius' bill about privilegia, is clearly here dealing with the bill, ‘ut praetores ex edictis suis perpetuis ius dicerent’ . The pluperfect subjunctives suggest that he is arguing that notorious unjust judgements of previous years would not have happened, if Cornelius' bill had been then in force. Cicero, after a discussion of the value of Cornelius' bill about privilegia,' is clearly here dealing with the bill, ‘ut praetores ex edictis suis perpetuis ius (...) dicerent’ . The pluperfect subjunctives suggest that he is arguing that notorious unjust judgements of previous years would not have happened, if Cornelius' bill had been then in force. (shrink)

From a purely historical point of view Lucan's epic is important, because it represents an intermediate stage between the contemporary account by Caesar of his defeat of the Pompeians and the later versions in Plutarch, Appian, and Cassius Dio. However, it does not merely show us the development of the historical tradition about the war, in particular that part of it which did not stem ultimately from Caesar himself. It is a milestone in the development of Roman ideas about the (...) fall of the Republic. For, while we can only tentatively deduce the attitude which Augustan writers, especially Pollio and Livy, adopted towards this war, Lucan represents the views of those who had not only lived under the monarchy which was the final product of the conflict begun in 49 B.c., but had experienced its less agreeable consequences under the later Julio-Claudians. (shrink)

An interesting phrase in a letter of Caelius to Cicero in 51 BC, especially relevant to the standing of injured socii or their non-Roman representatives in the quaestio de repetundis at this time, has been frequently misinterpreted by commentators on Cicero. Caelius is telling Cicero of the outcome of the condemnation of C. Claudius Pulcher after his governorship of Asia and the effect this had on an associate of Claudius, M. Servilius.

This chapter contains sections titled: An Introduction to Motherhood – Philosophy for Everyone Notes.

In a previous article I argued that the promulgatio trinundinum, regularly necessary before a vote in a legislative assembly, an election, or a iudicium populi during the late Roman Republic, was not the declaration of an interval of time but a publication of the proposed business which had to be made over three market-days or nundinae. These market-days occurred continuously at eight-day intervals, and no fresh start was made at the beginning of a year or other period. So the identification (...) of nundinae near the time when a law or other piece of public business was being transacted should provide evidence for or against my view, and further, if this view is sound, suggest more precisely the dates on which certain events occurred. (shrink)

Although many philosophers have attempted to explain how we do and how we ought to aesthetically appreciate nature, I argue that such appreciation has yet to be fully understood. I agree with the vast majority of aestheticians who argue that a successful model of nature appreciation will take into account the ways in which natural objects differ from art objects.Hence, the model I present illustrates that the way we appreciate art objects differs in important respects from the way we appreciate (...) natural objects. ;It seems to me that critics of the assimilation of nature appreciation to art appreciation have been too hasty. They mistakenly confine their analysis to the appreciation that an audience has for an artwork. By focussing on the spectator-to-artwork relationship, these critics have failed to notice the salient similarities between a certain type of experience of nature and a certain type of experience of art. I argue that nature appreciation, although not identical to, shares important similarities with the way a performing artist interprets an artwork. I call the model I present and defend the performative interpretation model of nature appreciation. (shrink)

Whether it's the 2010 BP oil spill or mountaintop removal in the Appalachians, it is clear that nature has been degraded and human activity threatens further degradation. Sound theoretical guidance is desperately needed to inform sound practice. Environmental philosophy is a good place to look for guidance, particularly to debates concerning restoration. These debates often focus on values promulgated via restoration. Questions are asked about the value produced by restoration efforts: Does restored nature have the same quality or quantity of (...) value as pre-degraded nature? About the value arising in the process of restoration activity: Does participating in restoration activity encourage increased respect for .. (shrink)

Abstract:In December 1933 Russell initiated a new project that by late 1934 was under the working title “The Revolt Against Reason”. It was to be a book that analyzed the intellectual and cultural ancestry of fascism. It was never completed, yet Russell left us many fascinating textual artifacts that give us some sense of what he intended to do. Three documents of special importance are presented in their full form in this paper. These documents, together with the work he did (...) publish on fascism and also the books Power and A History of Western Philosophy, demonstrate that Russell was an insightful thinker on the topic. His analysis placed him outside the major interpretations of fascism in the interwar period. (shrink)

Trinvndinvm, best known as the minimum interval prescribed between the promulgatio and rogatio of a law by the Lex Caecilia Didia of 98 B.C., but also employed in a number of other constitutional and legal contexts, is generally supposed now to mean a period of 24 days R : in other words, it is held to be three Roman eight-day weeks.

In a recent article, ‘An Epistemic Dilemma for Actual Intentionalism’, Saam Trivedi argues that the way we ought to interpret artworks is best understood using the model proposed by hypothetical intentionalism. Trivedi alleges that actual intentionalism faces a serious dilemma, the upshot of which is that actual intentionalists must choose between redundancy and indeterminacy. Largely on the basis of this dilemma, he concludes that even if actual intentionalism is descriptively accurate, it is prescriptively untenable. In this essay, I focus on (...) this alleged dilemma and argue that, contra Trivedi, it fails to undermine the prescriptive legitimacy of moderate actual intentionalism. That is, Trivedi's dilemma does not offer us a good reason to refrain from working to understand works of art under the methodological guidance of actual intentionalism. (shrink)

ille triumphata Capitolia ad alta Corinthouictor aget currum, caesis insignis Achiuis.eruet ille Argos Agamemnoniasque Mycenasipsumque Aeaciden genus armipotentis Achilli,ultus auos Troiae, templa et temerata Mineruae. That man will drive his chariot to the lofty Capitol in a triumph over CorinthA victor, made glorious by the Greeks he has slaughtered.That man will overthrow Argos and Agamemnon's MycenaeAnd the very offshoot of Aeacus, the kinsman of Achilles mighty in arms,Avenging his Trojan ancestors and the desecrated temple of Minerva.