a romantic solution to the dilemma beteew obscenity and ascetism.

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 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)

In assessing ethical issues concerning the sex-industry, feminist liberalism ought to combine the concern for the worker that is central to its treatment of prostitution, with sensitivity to the social and cultural embeddedness of self that is central to its treatment of pornography. That would enable us to then look at live-actor pornography as a form of prostitution that raises additional questions about third party consumption — and analysis both more theoretically coherent and practically useful.

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)

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 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)

Data from a survey on the sexual harassment of women in Canada reveal that 83.2 percent of the 1,990 women interviewed had received obscene or threatening telephone calls. Divorced and separated women, young women, and women living in major metropolitan areas were most likely to have been victims of this harassment. The “most disturbing” calls usually came at night when the respondent was home alone. The typical caller was an adult male unknown to the woman. Relatively few women reported (...) these calls to the police or the phone company, and those who did tended to get an unhelpful response. Most women said that the calls affected them emotionally, with fear being by far the most prevalent response. The results provide strong support for feminist theorizing about violence, fear, and the social control of women. (shrink)

The contemporary American political landscape is littered with talk of apology. Throughout the 2012 presidential campaign, both camps sparred over when, why, and to whom apologies should be made. The most striking clash occurred in July 2012. The Obama camp ran a series of campaign advertisements alleging that the then presumptive Republican nominee had in fact remained at Bain Capitol in a leadership role longer than he had claimed, bolstering their characterization of Romney as a businessman whose business was not (...) good for America.1 When Romney’s aide failed to quiet the critique by claiming that the candidate had “retired retroactively” (DeLong 2012), Romney himself took to the airwaves to speak to the .. (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.

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)

It is suggested that there is a syndrome of reactions elicited by stimuli people define as obscene and that these reactions can be explained within a symbolic interactionist framework. More specifically, it is argued that they are reactions to the denial or destruction of a person's ability to achieve and/or maintain an identity that is socially acceptable to him within a particular situation.

: 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.”.

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 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)

HOWARD POOLE ARGUES THAT "THERE IS A RATIONAL NECESSITY LINKING NEGATIVE ATTITUDES TO PORNOGRAPHY WITH A READINESS TO IMPOSE CENSORSHIP." HIS ARGUMENT HAS THREE PREMISES: FIRST, THAT TO CALL SOMETHING OBSCENE IS TO EXPRESS STRONG BUT OFTEN NONMORAL DISAPPROVAL; SECOND, THAT THIS STRONG DISAPPROVAL COMMITS ONE TO SEEK LEGISLATION KEEPING THE MATERIAL FROM CHILDREN; THIRD, THAT SUCH LEGISLATION IS A FORM OF CENSORSHIP. I QUESTION EACH PREMISE.

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)

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)

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)