According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in (...) relevant actions undertaken in the creation of those works. Underlying this argument is the idea that such generative actions are partly constitutive of a work's identity, and, therefore, they may affect the ethical value of an artwork either positively or negatively, and they are the proper objects of ethical appraisal. (shrink)

A widely accepted view in the philosophy of humour is that immoral jokes, like racist, sexist or homophobic jokes, can nevertheless be funny. What remains controversial is whether the moral flaws in these jokes can sometimes increase their humour. Moderate comic immoralism claims that it is possible, in at least some cases, for moral flaws to increase the humour of jokes. Critics of moderate comic immoralism deny that this ever occurs. They recognise that some jokes are (...) both funny and immoral, yet they claim that it is always something other than the moral flaws of jokes that contribute to their humour. In a series of recent papers, Aaron Smuts has pressed this objection to moderate comic immoralism. I argue that Smuts' attempt to narrow the range of cases in which humour can be attributed to immoral features is not sufficient to demonstrate that moderate comic immoralism is false. Specifically, I claim that Smuts cannot rule out a case for moderate comic immoralism grounded in the possibility that humour is normatively relative while the ethical status of jokes is not. (shrink)

Strong comic immoralism maintains that every time a humorous demonstration (for example, a joke) involves a moral defect, it is enhanced aesthetically in virtue of having this moral defect. I want to show that strong comic immoralism is a coherent position, that it is possible to defend, and that there is, in fact, some reason to defend it. By doing this, my hope is that, moving forward, those who are interested in questions about the relationship between (...) immorality and the aesthetic value of jokes will take more seriously the objections that may be presented against their views by the strong comic immoralist, rather than claiming that “no one on this side of Satan” would be one. (shrink)

This article explores several views on the relation of humour, especially tendentious humour, to morality, including comic amoralism, comic ethicism, comic immoralism, and moderate comic moralism. The essay concludes by defending moderate comic moralism.

Jokes are sometimes morally objectionable, and sometimes they are not. What’s the relationship between a joke’s being morally objectionable and its being funny? Philosophers’ answers to this question run the gamut. In this paper I present a new argument for the view that the negative moral value of a joke can affect its comedic value both positively and negatively.

I argue that genuine moral flaws never enhance amusement, but they sometimes detract.I argue against comic immoralism--the position that moral flaws can make attempts at humor more amusing.Two common errors have made immoralism look attractive.First, immoralists have confused outrageous content with genuine moral flaws.Second, immoralists have failed to see that it is not sufficient to show that a morally flawed joke is amusing; they need to show that a joke can be more amusing because of the fact (...) that it is morally flawed.I argue that the immoralist lacks a plausible account of how this could be the case.I reject immoralism and argue for comic moralism—the position that moral flaws can make attempts at humor less amusing. (shrink)

. Usually the ethics of humor revolves around the content of humor. After giving a synopsis and exposing some shortcomings of the recent controversies, this paper takes into account additional aspects and proposes a change of perspective from token to type level and deploys tools of the philosophy of language to tackle the question whether a joke as a type can be considered morally flawed irrespective of its tokens. After exploring possible ways one can think of to furnish evidence for (...) the opposite position, two novel lines of argumentation based on counterfactual conditionals and speech act theory are provided to show that these ways aren’t viable and that joke as types are ethically neutral. Moreover, the presented approach increases the resolution of the debate and provides a framework to capture other hitherto neglected questions of the philosophy of humor as well. (shrink)

Immoralists hold that in at least some cases, moral fl aws in artworks can increase their aesthetic value. They deny what I call the valence constraint: the view that any effect that an artwork’s moral value has on its aesthetic merit must have the same valence. The immoralist offers three arguments against the valence constraint. In this paper I argue that these arguments fail, and that this failure reveals something deep and interesting about the relationship between cognitive and moral value. (...) In the fi nal section I offer a positive argument for the valence constraint. (shrink)

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

The Ethical Question asks whether ethical values in artworks determine their aesthetic value and, if so, how. I argue that the question is ambiguous between a direct and an indirect reading. I show how the indirect reading is philosophically uninteresting because it has an obvious answer: a view called ‘immoralism’. I also show how most of the significant figures in the relevant literature address the indirect form of the question anyway—needlessly, if I am right. Finally, I consider whether some (...) version of the indirect question is more philosophically interesting, connecting it to the so-called ‘qua problem’. I attempt to give clarity to the discussion by applying work on the virtues and vices of explanations. (shrink)

Comic Relief: A Comprehensive Philosophy of Humor develops an inclusive theory that integrates psychological, aesthetic, and ethical issues relating to humor Offers an enlightening and accessible foray into the serious business of humor Reveals how standard theories of humor fail to explain its true nature and actually support traditional prejudices against humor as being antisocial, irrational, and foolish Argues that humor’s benefits overlap significantly with those of philosophy Includes a foreword by Robert Mankoff, Cartoon Editor of The New Yorker.

Can a moral defect be an artistic virtue? Can it make a positive contribution to artistic value? Further, if this can happen on occasion, does this imply that moral value has no systematic connection to artistic value since every conceivable relation between them is possible? The idea that moral defects can sometimes be artistic virtues has received a fair number of defenders recently and so has the anti-theoretical view that there is no systematic relation between artistic and moral value. But (...) I think immoralism—as the first of these views is called—is mistaken and I will try to show that no good reason has been offered to believe it. If immoralism is wrong, the anti-theoretical view at best devolves into moderate moralism—the idea that moral defects sometimes, but not always, are responsible for artistic defects. CiteULike Connotea Del.icio.us What's this? (shrink)

This chapter contains sections titled: Introduction Desiderata for an Account of Genre Existing Accounts of Genre An Account of Genre Conclusion Notes References.

Not all comics are art. What about the comics that are art? What sort of art are they? In particular, are comics a form of literature? For a variety of reasons it is tempting to think that at least some comics are literature. Nevertheless, many theorists reject the ‘comics as literature’ view. And although some reasons for resisting that view are misguided, I shall argue that there are other good reasons for being hesitant about treating comics as a form of (...) literature. This leaves us at an impasse with respect to the classification of comics. I suggest that the way out of the impasse is to recognize that comics are a hybrid art form. (shrink)

This chapter contains sections titled: McCloud's Definition Pictures and Comics Panels, Panels Everywhere Seeing‐in and Closure Pictureless Comics? Wordless Prints, Unprinted Words Spaces Between Words The Air of Non‐Pictures A Continuum of Cases Comic Books and Ideal Books Notes References.

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective (...) authorship (coupled with our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

This paper investigates whether an ethical flaw in an artwork can be an aesthetic merit. I explore two versions of immoralism from Eaton and Kieran. I will defend the immoralist claim that artworks containing rough heroes are ethically flawed. I will then argue that an indirect connection between an ethical flaw and aesthetic merit is sufficient for immoralism, so long as it is a necessary connection. On this understanding of immoralism, I will argue that Eaton and Kieran (...) are both successful in showing that an ethical flaw in an artwork can make it aesthetically better. (shrink)

According to immoralists, some artworks are better aesthetically in virtue of their immorality. A. W. Eaton recently offered a novel defence of this view, seeking to overcome shortcomings in previous accounts, thereby occasioning a reconsideration of immoralism. Yet, as I argue in this paper, Eaton’s attempt is unsuccessful, insofar as it consists partly of inadequately supported claims, and partly—and more interestingly, albeit paradoxically––of covert moralist assumptions that are, eo ipso, incompatible with immoralism. I then turn to a parallel (...) debate in ethics concerning the possibility of admirable immorality, suggesting that a consideration of the state of that debate further supports my argument against immoralism. I close by suggesting some strategies by which immoralists may offer a rejoinder, although I note that their prospects are rather dim, not least because available defences of immoralism and similar positions all seem to share the same flawed pattern. (shrink)

이 글의 목적은 니체의 도덕철학에 대한 비도덕주의적 해석을 비판적으로 검토하는 데 있다. 비도덕주의는 기본적으로 도덕에 반대하는 니체의 입장을 이해하려는 시도라고 볼 수 있다. 비도덕주의는 도덕을 부정적 가치나 극복해야만 하는 어떤 것이라고 주장한다. 하지만 비도덕주의는 니체가 도덕적 가치와는 다른 미적 가치, 또는 도덕과는 다른 윤리적 삶의 형식을 지지한다고 주장한다는 점에서 무도덕주의와 다르다. 한마디로 비도덕주의적 입장은 니체가 도덕은 거부하면서도 도덕과는 다른 대안적 시각을 지지한다고 주장한다. 그런데 이러한 가치 평가적 기획에는 메타윤리적 질문이 동반될 수밖에 없기 때문에, 비도덕주의가 지지하는 니체의 대안적 가치가 그가 거부하는 (...) 도덕적 가치에 비해 어떤 특권을 가질 수 있느냐 하는 의문이 제기된다. 이 글에서 필자는 비도덕주의가 니체의 대안적 시각의 규범적 정당화 문제를 해결하기 어렵다고 주장한다. 이러한 주장을 위해 필자는 먼저 그것이 제안하는 대안적 시각의 성격에 따라 비도덕주의를 ‘미학적’ 입장과 ‘윤리적’ 입장으로 나누어 살펴보고, 각 입장의 의의와 한계를 검토한다. 그 결과 니체에 대한 비도덕주의적 해석이 다원화된 새로운 문화에 살고 있는 우리에게 미적이고 윤리적인 대안적 실존의 가능성을 위한 토대를 마련해 주었음에도 불구하고, 니체의 도덕철학에 담긴 대안적 시각을 규범적으로 정당화하기 어렵다고 주장한다. 필자는 그 한계가 비도덕주의적 입장이 여전히 ‘좋은 것의 정초’라는 전통 윤리학의 기본가정에 매여 있기 때문이라고 본다. 즉 필자는 비도덕주의가 도덕적 가치 대신 니체의 대안적 가치를 정초하려고 한다는 점에서 기본적인 한계를 갖는다고 주장한다. 결론적으로 필자는 그 한계가 니체의 도덕철학을 비도덕주의가 아닌 도덕적 자연주의로 이해함으로써 보완될 수 있고, 그 전환의 의미는 니체의 도덕적 자연주의를 ‘정초의 윤리학’이 아닌 ‘금지의 윤리학’으로 파악함으로써 더 잘 해명될 수 있다고 주장한다. (shrink)

This chapter contains sections titled: Notes References.

Comics comprise a hybrid art form descended from printmaking and mostly made using print technologies. But comics are an art form in their own right and do not belong to the art form of printmaking. We explore some features art comics and fine art prints do and do not have in common. Although most fine art prints and comics are multiple artworks, it is not obvious whether the multiple instances of comics and prints are artworks in their own right. The (...) comparison of comics and fine art prints provides a promising test for assessing how hybrid art forms develop more generally, and for assessing how they differ from closely related nonhybrid cousins. (shrink)

Argues that emotivism is compatible with cases where we seem to lack motivation to act according to our moral opinions.

Comics have great potential to depict an almost infinite range of themes, questions and lives. But what about their ability to express and interpret philosophical concepts? How can we differentiate between the representation of theoretical concepts in and of themselves, and the impact of comics techniques on the legacy of philosophers, their lives and their thought? This book explores the historical and artistic value of representing lives through the medium of bande dessinée (BD), French-language comics. The text analyses three biographical (...) BDs dedicated to the lives of Jean-Paul Sartre, Simone de Beauvoir and Albert Camus as well as a selection of print and online comics that extend the legacy of these philosophers and their historical movement. The work is the first to analyse biographical BD through the lens of Existentialism, offering a new theory of reading biographical comics. The research not only contributes a novel approach to comics but also an enhanced understanding of Existentialism and the Existentialists, including their enduring contemporary relevance. (shrink)

This chapter contains sections titled: Introduction A Cautious Set‐Up Minimal Authorship (of Sorts) Minimal Authorship (of the Comic Sort) Some Work for a Theory of Comic Authorship Illustrating Robust Comic Authorship Comic Authorship of the McCloudian Sort Appropriation Cases Commission Cases Collaborative Cases Non‐Collaborative Cases Final Thoughts Notes References.

In the present scenario, Superman’s problem is not just a problem of physical effort but one of practical reasoning. A well‐adjusted and fairly moral person will respond to the world in certain kinds of ways that go beyond making calculations of reasons. First, there is the issue of what they will count as a reason at all. Second, there is the matter of when serious deliberation is required at all. Just as we act out of habit in our usual daily (...) routines, so too we can act out of habit in less routine matters. And these habits can be emotional too. Injustice causes us to feel anger on our own or on others’ behalf, exemplified by Grant Morrison’s Superman‐as‐social‐crusader in the new Action Comics. When the circumstances make things clear, a virtuous person just acts. In this sense, Superman is virtuous in his exercise of practical reason. (shrink)

Comic moralism holds that some moral properties impact negatively on the funniness of certain items that possess them. Strong versions of the doctrine deem the impact to be devastating: the possession of such a property by one of these items ensures the item is not funny. Weak versions deem the impact merely damaging: any funniness one of the items possesses is diminished, but not destroyed, by its possession of the property. Various species of comic moralism hold, respectively, various (...) moral properties to impact negatively on funniness. For example, one species holds as much of the property “manifests attitudes that are morally wrong,” but other species hold as much of different moral properties. Comic moralism, or a species of it, can be unrestricted, or restricted, depending on whether it pertains to all the items that possess the negatively impacting moral property or properties, or to just a subset of these items. (shrink)

Teaching is often framed in terms of performance: an orator stands before a crowd, attempting to capture attention and to deliver material prepared in advance. This analogy falls apart, however, when one considers the extent to which teaching is a dialogical endeavor. Looking to the Meno, the Symposium, and the Republic, this paper offers an interpretation of these texts which deepens our understanding of Plato’s theory of education. First, a Platonic view of education recommends a view of educators not as (...) imparters of wisdom upon passive recipients, but as mediators of student growth. Second, the tragic and comic nature of the above Platonic dialogues suggests that the content of a lesson will always be inflected by the personal characters of the students and teacher. This has direct implications for how philosophers approach their task as teachers, the most notable being that the personal characters and classroom dynamics are factors which must be taken into account in the formulation and development of effective pedagogical methods. (shrink)

Visual narratives like comics involve a range of complex cognitive operations in order to be understood. The Parallel Interfacing Narrative‐Semantics (PINS) Model integrates an emerging literature showing that comprehension of wordless image sequences balances two representational levels of semantic and narrative structure. The neurocognitive mechanisms that guide these processes are argued to overlap with other domains, such as language and music.

This article argues that Nietzsche's 1888 writings should be understood as a Dionysian comedy that parallels important formal structures of Aristophanes' early plays. Whereas works such as The Twilight of the Idols and The Case of Wagner contain features that resemble the agonal elements of Dionysian comedy, Ecce Homo should be understood as a comic parabasis of self-definition.

A fun introduction in comics to deep thinking and the history of philosophy -- Back cover.

Together these two dialogues contain Plato’s most important work on poetry and beauty.

As a doctor and practitioner researcher, I use comics as a research method. This graphic article is an attempt to convince you, the academy and perhaps myself, that comics are research.

This article examines the comic portrayal of Confucius in the Analects and the Zhuangzi, maintaining that there is a humorous aspect to the character of Confucius that is often overlooked. Conventional interpretations of the Analects downplay the pranks and mocking comments that are sprinkled throughout them. Many of the humorous words Confucius utters are directed at ritualistic behaviour which has become mechanistic, suggesting that in order to take ritual seriously, we must also be prepared to take it in jest. (...) Furthermore, Confucius’s situation is poked fun at in both the Analects and the Zhuangzi, since he wanders around desperately seeking a position of influence that eludes him. But while the Zhuangzi relentlessly mocks Confucius for his ritualized arrogance, it also signals his respect for him by making him the mouthpiece of the very Dao that it accuses him of straying from. (shrink)

Socrates and the Immoralists assembles an in-depth exploration of Socrates' argument for the just life, focusing specifically on the dialogues with the "immoralists" Polus, Callicles, and Thrasymachus, and illuminates the complexities of Socrates' thought, showing the interplay of the seemingly contradictory parts of Socrates' ambition, ultimately vindicating the overall coherence of his views.

Socrates and the Immoralists assembles an in-depth exploration of Socrates' argument for the just life, focusing specifically on the dialogues with the 'immoralists' Polus, Callicles, and Thrasymachus, and illuminates the complexities of Socrates' thought, showing the interplay of the seemingly contradictory parts of Socrates' ambition, ultimately vindicating the overall coherence of his views.

We argue that the counterfactual representations of popular culture, like their religious cognates, are shaped by cognitive constraints that become visible when considered in aggregate. In particular, we argue that comic-book literature embodies core intuitions about sociality and its maintenance that are activated by the cognitive problem of living in large groups. This leads to four predictions: comic-book enforcers should be punitively prosocial, be quasi-omniscient, exhibit kin-signalling proxies and be minimally counterintuitive. We gauge these predictions against a large (...) sample of 19,877 characters that were derived from 72,611 comics using data scraping techniques. Our results corroborate the view that cognitive constraints exercise a selective effect on the transmission of popular culture. (shrink)

Non-fiction graphic novels about illness and death created by patients and their loved ones have much to teach all readers. However, the bond of empathy made possible in the comic form may have special lessons for healthcare providers who read these texts and are open to the insights they provide.

Comics are complex multimodal documents that make for intriguing materials to analyze with computer vision and computational linguistics. This review summarizes the growing developments in computational modeling which have been progressing to analyze visual narratives across their various substructures.