What does it say about you if you enjoy sexist humour? One answer to this question holds that finding sexist humour funny reveals that you have sexist beliefs, whilst another holds that it reveals nothing deeper about you at all. I argue that neither of these answers are correct, as neither can capture the feeling of unwilling complicity we often get from enjoying sexist jokes. Rather, we should navigate between these two positions by understanding the sense of humour as a (...) kind of sensibility or taste, analogous to Anne Eaton’s account of erotic taste. This allows for a fleshing out of the purely belief-centred understanding of the sense of humour, adding emotional, perceptual and motivational aspects to it. Finally, I propose that one’s sense of humour is shaped the representations one engages with, which suggests a possible avenue for habituating it in a more egalitarian direction. (shrink)

Stand‐up comedy is often viewed in two contrary ways. In one view, comedians are hailed as providing genuine social insight and telling truths. In the other, comedians are seen as merely trying to entertain and not to be taken seriously. This tension raises a foundational question for the aesthetics of stand‐up: Do stand‐up comedians perform genuine assertions in their performances? This article considers this question in the light of several theories of assertion. We conclude that comedians on stage do not (...) count as making genuine assertions—rather, much like actors on a stage, they merely pretend to perform speech acts. However, due to norms of authenticity that govern stand‐up comedy, performers can nonetheless succeed in conveying genuine insights. Thus, our account accommodates both the seemingly incompatible aspects of our ordinary appreciation of stand‐up comedy and points toward deeper philosophical understanding of stand‐up comedy as a unique art form. (shrink)

I distill three somewhat interrelated approaches to the ethical criticism of humor: (1) attitude-based theories, (2) merited-response theories, and (3) emotional responsibility theories. I direct the brunt of my effort at showing the limitations of the attitudinal endorsement theory by presenting new criticisms of Ronald de Sousa’s position. Then, I turn to assess the strengths of the other two approaches, showing that that their major formulations implicitly require the problematic attitudinal endorsement theory. I argue for an effects-mediated responsibility theory , (...) holding that the strongest ethical criticism that can be made of our sense of humor is that it might indicate some omission on our part. This omission could only be culpable in so far as a particular joke could do harm to oneself or others. In response to Ted Cohen’s doubts that such a mechanism of harm is forthcoming, I argue that the primary vehicle of the harmful effects of humor is laughter. (shrink)

In this brief essay, I will lay out the philosophical landscape concerning theories of racist humor. First, I mention some preliminary issues that bear on the question of what makes a joke racist. Next, I briefly survey some of the views philosophers have offered on racist humor, and on a view of sexist humor that is relevant for this discussion. I then suggest the debates could benefit from moving beyond the racist/non-racist binary most views presuppose. Finally, I conclude with suggestions (...) for further research. (shrink)

Is it ever bad to take pleasure in the suffering of fictional characters? I think so. I attempt to show when and why. I begin with two powerful objections to my view: (1) engaging with fiction is akin to morally unproblematic autonomous fantasy, and (2) since no one is harmed, it is morally unproblematic. I reply to the objections and defend a Moorean view on the issue: It is intrinsically bad to enjoy evil, actual (past, present, or future) and merely (...) imagined. In support, I offer four examples. Then I argue against Moore's claim that it is equally bad to delight in fictional suffering as it is to enjoy actual suffering. Finally, I argue that even though it is bad to enjoy imagined suffering, the power of fiction is often mitigating. The moral problems are more often with the works of fiction than with the audience. (shrink)

A philosopher’s case for the importance of good—if ethically questionable—humor. A good sense of humor is key to the good life, but a joke taken too far can get anyone into trouble. Where to draw the line is not as simple as it may seem. After all, even the most innocent quips between friends rely on deception, sarcasm, and stereotypes and often run the risk of disrespect, meanness, and harm. How do we face this dilemma without taking ourselves too seriously? (...) In Wisecracks, philosopher David Shoemaker examines this interplay between humor and morality and ultimately argues that even morally suspect humor is an essential part of ethical life. Shoemaker shows how improvised “wisecracks” between family and friends—unlike scripted stand-up, sketches, or serials—help us develop a critical human skill: the ability to carry on and find the funny in tragedy. In developing a new ethics of humor in defense of questionable gibes, Wisecracks offers a powerful case for humor as a healing presence in human life. (shrink)

I propose the Shared Presupposition Norm of Joking (SPNJ) as a constitutive norm of joke-telling. This norm suggests that a person should only tell a joke if they believe their audience shares the presuppositions—both explicit beliefs and implicit inferential connections—upon which the joke turns. Without this shared understanding, the audience would lack the necessary comprehension to appreciate the joke. I defend this norm in an analogous way to Williamson’s defense of the Knowledge Norm of Assertion by demonstrating that it explains (...) a number of patterns of joking behavior. If SPNJ is indeed a constitutive norm of joking, it provides an epistemological foothold. Jokes function as conversational explicatures serving an epistemically diagnostic function, revealing implicit and perhaps disavowed inferential dispositions of the joking community. This norm does not teach us about the subject matter of the joke, but instead illuminates the language games of the joke teller and audience. (shrink)

In this thesis, I address the metaphysical question `What is humour?' and the ethical question `When is humour immoral?' Consulting a dictionary reveals a circle of definitions between `amusement', `funniness', and `humour'. So I split the metaphysical question `What is humour?' into three questions: `What is amusement?', `What is funniness?' and `What is humour?' By critically analysing then synthesising recent research in philosophy, psychology and linguistics, I give the following answers: x amuses y if and only if: y is in (...) a non-serious, non-threatened, non-goal-directed state. y simultaneously activates two incompatible interpretations of x via unsound logic. sufficiently increases the psychological arousal of y. x is funny if and only if x merits amusement. x is humour if and only if the function of x is to merit or elicit amusement. Similarly, I split the ethical question `When is humour immoral?' into three questions: `When is amusement immoral?', `How does immorality affect funniness?' and `When is humour immoral?' By using, and, I give the following answers: Amusement is immoral when the correct theory of normative ethics defines, or to be immoral. Immorality negatively affects funniness. Humour-types are not subject to moral evaluation. Humour-tokens are immoral when the correct theory of normative ethics defines them to be immoral. This thesis contributes to the knowledge of the subject in two ways. First, by critically analysing and synthesising recent inter-disciplinary research, provides a more precisely specified definition of amusement than that in the philosophical literature. Second, research on humour, across all disciplines, conflates the three closely related but distinct concepts of humour, amusement and funniness. By providing a linear sequence of definitions,, and avoid the conceptual confusions that commonly occur. (shrink)

Journal of Social Philosophy, EarlyView.

The bulk of the literature on the relationship between art and morality is principally concerned with an aesthetic question: Do moral flaws with works of art constitute aesthetic flaws?1 Much less attention has been paid to the ways in which artworks can be morally flawed. There are at least three promising contenders that concern aesthetic education: Artworks can be morally flawed by endorsing immorality, corrupting audiences, and encouraging responses that are bad to have. When it comes to works of fiction, (...) the third suggestion requires what Allan Hazlett calls response moralism—the position that audience reactions to artworks can be morally bad.2 Here, I will put aside issues of aesthetic.. (shrink)

An overlooked element in dealing with dissensus is humour. Humor has two vital rhetorical functions here: 1) it dilutes or diffuses volatility, and 2) it elucidates and constructs shared conditions of reasonableness. I will suggest that the rhetorical character of humour, as a productive, creative capacity, is an essential feature of its role in helping to generate and substantiate the ‘common sense’ needed for effective communication in general.

People respond to moral criticism of their speech by claiming that they were joking. In this paper, I develop a speech act analysis of the humor excuse consisting of a negative stage, in which the speaker denies he or she was making an assertion, and a positive stage, in which the speaker claims she or he was engaged in non-serious/humorous speech instead. This analysis, however, runs afoul of the group identity objection, according to which there is a moral distinction between (...) jokes targeting members of vulnerable groups made by members of those groups and similar jokes made by non-members. In order to avoid this objection, I offer a revision to the speech act analysis that draws upon Perry’s distinction between beliefs and belief-states. (shrink)

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)

One reason people value privacy is that it allows them to do or think bad things – things that, if made public, would warrant blame, censure, or punishment. Privacy protects several types of freedom – and one of these is the freedom to be bad. This paper will argue that this is a good thing.

This thesis explores and describes the comic features of Samuel Beckett’s prose works. It explores fundamental questions about Beckett’s humour. On the one hand, it investigates the nature of humour, and, on the other, it investigates what counts as humour in Beckett. This twofold investigation requires ‘attuning’ philosophy and literary criticism, where questions and tools of each discipline mutually sharpen and refine each other. Chapter 1 evaluates philosophical accounts of humour and identifies Incongruity Theory as the theory offering the best (...) account of humour. According to this theory, a necessary and not sufficient condition for comic amusement is the perception of an incongruity. Chapter 2 starts exploring what counts as humour in Beckett by examining where comic incongruities are located. By doing so, this chapter puts the Incongruity Theory to the test, and, evaluates the analytical tools ordinarily used in describing humour. This exploration uses Ruby Cohn’s seminal description of Beckett’s humour as a springboard. This chapter individuates a comic layer which Cohn’s description has overlooked – the ‘comic of language acts’. Chapter 3 analyses Beckett’s texts in order to describe the comic devices that depend on the performance of language acts. In order to do so, the discussion makes use of Austin’s Theory of Speech Acts. As a result, this chapter develops a set of tools able to capture ‘the comic of language acts’, a comic layer which crucially shapes Beckett’s writing. Chapter 4 demonstrates how to make use of the set of tools developed in Chapter 3 by examining three key works of Beckett – More Pricks than Kicks, Watt, and Molloy. This examination leads to the individuation of three movements at the level of illocutionary acts – ‘twists’, ‘convolutions’, and ‘oscillations’ – which are informative of Beckett’s writing and of the experience of reading these works. (shrink)

A common view holds that humor and morality are antithetical: Moral flaws enhance amusement, and moral virtues detract. I reject both of these claims. If we distinguish between merely outrageous jokes and immoral jokes, the problems with the common view become apparent. What we find is that genuine morals flaws tend to inhibit amusement. Further, by looking at satire, we can see that moral virtues sometimes enhance amusement. The position I defend is called symmetric comic moralism. It is widely regarded (...) as patently absurd. I hope to correct this mistake. (shrink)