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)

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)

Emotions have long been of interest to philosophers and have deep historical roots going back to the Ancients. They have also become one of the most exciting areas of current research in philosophy, the cognitive sciences, and beyond. -/- This book explains the philosophy of the emotions, structuring the investigation around seven fundamental questions: What are emotions? Are emotions natural kinds? Do animals have emotions? Are emotions epistemically valuable? Are emotions the foundation for value and morality? Are emotions the basis (...) for responsibility? Do emotions make us better people? -/- In the course of exploring these questions, the book also discusses cutting-edge empirical research on emotion, feminist approaches to emotions and their value, and methodological questions on how to theorize about the emotions. The book also contains in-depth discussions of specific emotions like compassion, disgust, anxiety, and curiosity. It also highlights emerging trends in emotion research. (shrink)

Pour contrer le scepticisme au sujet de la connaissance des valeurs, la plupart soutiennent avec John Rawls qu’une croyance comme celle qu’une action est bonne est justifiée dans la mesure où elle appartient à un ensemble de croyances cohérent, ayant atteint un équilibre réfléchi. Christine Tappolet s’inspire des travaux de Max Scheler et d’Alexius von Meinong pour défendre une conception opposée au cohérentisme. La connaissance des valeurs est affirmée dépendre de nos émotions, ces dernières étant conçues comme des perceptions des (...) valeurs. (shrink)

This article reflects on the oddness of humor and laughter as human behaviors. It argues against classifying humorous amusement as an emotion by contrasting amusement with standard emotions. It then examines amusement as a kind of pleasure, specifically, the enjoyment of psychological shifts. It argues that humor evolved from mock-aggressive play in pre-human apes, with laughter serving as a play signal. Understanding humor as play not only helps explain laughter but also clarifies issues in the ethics of humor, such as (...) the wrongness of racist and sexist jokes, and the question of whether a sense of humor is a virtue. (shrink)

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)

Can scientific evidence prompt us to revise philosophical theories or folk theoretical accounts of phenomena of the mind? We will argue that it can—but only under the condition that they make a so-called ‘ontological commitment’ to something that is actually subject to empirical inquiry. In other words, scientific evidence pertaining to neuroanatomical structure or causal processes only has a refuting effect if philosophical theories and folk notions subscribe to either account. We will illustrate the importance of ‘ontological commitment’ with the (...) ‘neuroanatomical approach’ to amusement as proposed in a recent paper by Palencik :419–434, 2007). We will show that the scientific evidence presented in said neuroanatomical approach has no bearing on the conceptual issues, in that the philosophical theories and folk distinction that are criticized do not subscribe to any account of the underlying neuroanatomical structure or causal processes. Our suggestions in this paper are not limited to philosophical accounts of humor but apply to the relationship of philosophy, common sense and science in general. (shrink)