At the end of section §6 in the Analytic of the Beautiful, Kant defines taste as the “faculty for judging an object or a kind of representation through a satisfaction or dissatisfaction without any interest”. On the face of it, Kant’s definition of taste includes both; positive and negative judgments of taste. Moreover, Kant’s term ‘dissatisfaction’ implies not only that negative judgments of taste are those of the non-beautiful, but also that of the ugly, depending on the presence of an (...) actual displeasure. (shrink)

Sexualized naked protest using young and attractive women's bodies have long featured in the repertoire of protest tools for interventions in public space. Antirape feminist groups and nonhuman-animal rights activist groups, in particular, have mobilized these bodies to attract attention to their causes. Contemporary debates have suggested that these sorts of protest are objectionable, and that they are entwined with contemporary rape culture. This article complicates these accounts by considering what happens when the naked body is presented as a grotesquery (...) in the service of these apparently emancipatory politics.Analyzing two instances of naked protest as case studies, this article examines what happens to naked protest when the bodies protesting are “ugly” or are rendered so. The analysis suggests that naked protest featuring bodies that are “ugly” harbors the possibility of mobilizing a transgressive politics beyond contemporary rape culture. This article has implications for better understanding how to mobilize protest in a way that is transgressive and bold without further enshrining rape culture as the normative background against which it takes place. (shrink)

I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...) ugliness sits opposed to beauty across a neutral midpoint (the argument from proposed intensions). And third, ugliness and disgustingness function in the same way in both giving rise to representations of contamination (the argument from the law of contagion). In making these arguments, I show why prominent objections to the thesis do not succeed, cast light on some of the artistic functions of ugliness, and, in addition, demonstrate why a dispositional account of disgustingness is correct, and present a novel problem for warrant-based accounts of disgustingness (the ‘too many reasons’ problem). (shrink)

"نحن" أسبق على الأنا والآخر. تتجلى في ضوء هذه العبارة فلسفة إیمانویل كفلسفة أنطولوجیة تعبر عن وحدة خلقیة، غایتها تقدیم الخطوط العریضة للتعامل لیفیناس بین الأنا والآخر. فقد انعطف لیفیناس بالفكر الفلسفي من التمحور حول فكرة الوجود إلى التركیز على الأخلاق وجعلها الفلسفة الأولى. إن الفلسفة الأخلاقیة كما یذهب لیفیناس هي فلسفة اجتماعیة، لأنها تباشر كل ما یخص الإنسانیة، وفلسفته على وجه الخصوص تدعو للتجاوز لا للتناحر، وقد كان (الوجه) هو حجر الأساس الذي بنى علیه الفیلسوف فلسفته الأخلاقیة، وجعله المحك (...) الأساسي للتواصل بین الأنا والآخر، وذلك لأنه لا یمكن الفصل بین الآخر ووجهه،مشیرًا إلى أن اللقاء بالوجه هو بمثابة الحدث الذي یكمن فیه الحوار وربما یكون حوار من دون خطاب موجه، فالوجه هو ظاهرة تشیر إلى ماهیة الإنسان بالمعنى الفینومینولوجي. كما لو كان ذلك الخطاب هو تجلّ للإله على الوجه لحظة اللقاء؛ حیث یقول لیفیناس: "فحینما تلتقي الأنا بالأنت تبدأ العلاقة الأصلیة للحدث الأخلاقي". (shrink)