Justin D’Arms and Daniel Jacobson have argued that to evaluate the funniness of a joke based on the consideration of whether it is morally appropriate to feel amused commits the “moralistic fallacy.” We offer a new and empirically informed reply. We argue that there is a way to take morality into consideration without committing this fallacy, that is, it is legitimate to say that for some people, witty but immoral jokes can fail to be funny because they are immoral. In (...) our account, one has an intramural moral reason not to feel amused if one focuses on the moral feature itself of a joke rather than the moral consequence implied in one’s reaction to the joke. When one judges a joke as not funny because of the intramural moral reason, one is in a negative emotional state with high arousal, for example, moral disgust or anger. This state is psychologically incompatible with amusement. That one has an intramural reason not to feel amused thus implies that one does not have a reason to feel amused. Moral consideration thus plays an indirect and appropriate role in the evaluation of the funniness of a joke. (shrink)

Medical professionals seem to interpret their uses of humor very differently from those outside the medical profession. Nurses and physicians argue that humor is necessary for them to do their jobs well. Many (potential) patients are horrified that they could one day be the butt of their physician’s jokes. The purpose of this paper is to encourage the respectful use of humor in clinical prac-tice, so as to support its importance in medical practice, while simultaneously protecting against its potential abuse. (...) I begin by examining two extremes of supporting or chastising the use of medical humor. I look at these views through the lenses of popular theories of humor to help explain their theoretical bases. In this second section, I explain the emotional aspect of humor as an embodied and embedded transformation of the world. This clarifies the role that humor plays in our daily lives, as well as why the ethical or unethical nature of its use is dependent on context. Third, I address the potential problems in the relationship between humor and clinical sympathy, and how this further affects the relationship between medical professionals and their patients. I conclude by arguing that humor can conflict with clinical sympathy, but this need not be the case. If medical professionals actively engage with clinical sympathy and focus on using humor in a way that is respectful towards their patients, then humor can continue to be a positive force in their lives while still providing the best care for their patients. (shrink)

Bill Cosby’s immorality has raised intriguing aesthetic and ethical issues. Do the crimes that he has been convicted of lessen the aesthetic value of his stand-up and, even if we can enjoy it, should we? This article first discusses the intimate relationship between the comedian and audience. The art form itself is structurally intimate, and at the same time the comedian claims to express an authentic self on stage. After drawing an analogy between the question of the moral character of (...) comedians and the aesthetic value of their stand-up and the debate over the ethical criticism of art, this article argues that it is reasonable to find a comedian’s performance less funny, because stand-up’s artistic success relies on this intimacy. It contrasts the comedy of Bill Cosby with that of Louis C.K. C.K.’s moral flaws are much more present in his comedy, and it is therefore more difficult to find him funny. Last, it is ethically permissible to enjoy their comedy, if no harm to others results, both because it does not corrupt the audience’s character and because amusement is valuable. (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)

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.

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)

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)

The position of immoralism in analytic aesthetics and the philosophy of art holds that a work's moral defects can sometimes contribute to its artistic value. This position has suffered massive criticism in recent years. In support of immoralism, I present in this paper a new argument by examining immorality in the artistic genre of transgressive art. I argue that in the category of transgressive art, due to the nature of immorality that is a transgressive and liberating force against morality's authority, (...) being immoral can contribute directly to an artwork's artistic value by contributing to the realization of its artistic aim. (shrink)

This paper considers whether proposition – “x is not immoral but it is in poor taste” – is morally contradictory when considered from the standpoint of constructive ecumenical expressivism. According to CEE, pronouncements about poor taste and immorality have the following in common: they each convey a negative attitude towards x and intimate that x ought not to be done. Given this, P1 is vulnerable to a charge of contradiction, as it intimates that x is both something and not something (...) that ought not to be done. To avoid the putative contradiction, it is argued that an accusation of poor taste amounts to a negative attitude towards the treatment of a morally pertinent matter, thereby making the former parasitic on the latter. A morally relevant means of distinguishing between poor taste and immorality is therefore provided that endorses the expressivist tradition, and provides an account of societal norms. (shrink)

The traditional concern of the academic literature on the ethics of humor is to determine whether ethical considerations influence comic amusement or, in other words, judge the impact of ethics over aesthetics. For some, ethically questionable dimensions bear no implication for the effectiveness of jokes; for others, they do, but this group disagrees on whether ethical problems make jokes less or more funny. This article attempts an alternative approach and explores the occurrences in which the aesthetic reaction to humor reveals (...) a more profound ethical commitment. It asks: What are the conditions under which laughter resulting from comic amusement reflects the moral stance of an individual? Or, more simply: Can one judge a person's character based on what this person is laughing at? The article starts by showing how humor can legitimately be taken as representative of the individual spirit, continues by identifying the subsection of humor that can offer an affirmative answer to the posed questions, highlights the power dynamics at play within this subsection of humor to justify its characterization as “fascist,” and concludes by offering guidance on identifying fascist laughter. (shrink)