This 1996 book is the result of a uniquely productive union of philosophy, psychoanalysis and anthropology, and explores the complexity and importance of emotions. Michael Stocker places emotions at the very centre of human identity, life and value. He lays bare how our culture's idealisation of rationality pervades the philosophical tradition and leads those who wrestle with serious ethical and philosophical problems into distortion and misunderstanding. Professor Stocker shows how important are the social and emotional contexts of ethical dilemmas and (...) inner conflicts, and he challenges philosophical theories that try to overgeneralise and over-simplify by leaving out the particulars of each situation. In offering a realistic account of emotions and an in-depth analysis of how psychological factors affect judgments of all kind, this book will interest a broad range of readers across the disciplines of philosophy and psychology. (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)

This book assesses the adequacy of the traditional theories of laughter and humor, suggests revised theories, and explores such areas as the aesthetics and ethics of humor, and the relation of amusement to other mental states. Theories of laughter and humor originated in ancient times with the view that laughter is an expression of feelings of superiority over another person. This superiority theory was held by Plato, Aristotle, and Hobbes. Another aspect of laughter, noted by Aristotle and Cicero and neglected (...) until Kant and Schopenhauer developed it into the incongruity theory, is that laughter is often a reaction to the perception of some incongruity. According to the third and latest traditional theory, the relief theory of Herbert Spencer and Freud, laughter is the venting of superfluous nervous energy. Historical examples of all these theories are presented along with hybrid theories such as those of Descartes and Bergson. The book also features traditional explorations of the place of humor in aesthetics, drama, and literature. This is the first work in the last fifty years to include the classic sources in the philosophy of humor and the first to present theories by contemporary philosophers. (shrink)

In this paper I am concerned with two questions: What is sexist humor? and what is wrong with it? To answer the first question, I briefly develop a theory of humor and then characterize sexist humor as humor in which sexist beliefs are presupposed and are necessary to the fun. Concerning the second question, I criticize a common sort of argument that is supposed to explain why sexist humor is offensive: although the argument explains why sexist humor feels offensive, it (...) does not place responsibility for the offense in the humorist or audience that enjoys sexist humor. I develop an alternate account of the offense in sexist humor that places responsibility for offense in precisely those quarters. (shrink)

In this paper I am concerned with two questions: What is sexist humor? and what is wrong with it? To answer the first question, I briefly develop a theory of humor and then characterize sexist humor as humor in which sexist beliefs (attitudes/norms) are presupposed and are necessary to the fun. Concerning the second question, I criticize a common sort of argument that is supposed to explain why sexist humor is offensive: although the argument explains why sexist humor feels offensive, (...) it does not place responsibility for the offense in the humorist or audience that enjoys sexist humor. I develop an alternate account of the offense in sexist humor that places responsibility for offense in precisely those quarters. (shrink)

Davidson attacks the intelligibility of conceptual relativism, i.e. of truth relative to a conceptual scheme. He defines the notion of a conceptual scheme as something ordering, organizing, and rendering intelligible empirical content, and calls the position that employs both notions scheme-content dualism. He argues that such dualism is untenable since: not only can we not parcel out empirical content sentence per sentence but also the notion of uninterpreted content to which several schemes are relative, and the related notion of a (...) theory ”fitting the evidence’, can be shown to lack intelligibility too. Davidson argues further that belief in incommensurable schemes or non-intertranslatable languages is possible only on violating a correct understanding of interpretability : if we succeed in interpreting someone else then we have shown there is no need to speak of two conceptual schemes, while if we fail ”there is no ground for speaking of two.’. (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)

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

INTRODUCTION Ever since the beginning of the modern phenomenological movement disciplined attention has been paid to various patterns of human experience as ...

Henri Bergson (1859-1941) is one of the truly great philosophers of the modernist period, and there is currently a major renaissance of interest in his unduly neglected texts and ideas amongst philosophers, literary theorists, and social theorists. Creative Evolution (1907) is the text that made Bergson world-famous in his own lifetime; in it Bergson responds to the challenge presented to our habits of thought by modern evolutionary theory, and attempts to show that the theory of knowledge must have its basis (...) in a theory of life. (shrink)

The long debate -- Aesthetics and ethics : basic concepts -- A conceptual map -- Autonomism -- Artistic and critical practices -- Questions of character -- The cognitive argument : the epistemic claim -- The cognitive argument : the aesthetic claim -- Emotion and imagination -- The merited response argument.

Written over the last two decades, John McDowell's papers, as a whole, deal with issues of philosophy. Specifically, separate groups of essays look at the ethical writings of Aristotle and Plato; moral questions regarding the Greek tradition; interpretations of Wittgenstein's work; and, finally, questions about personal identity and the character of first-person thought and speech.

This book attempts to place a realist view of ethics (the claim that there are facts of the matter in ethics as elsewhere) within a broader context. It starts with a discussion of why we should mind about the difference between right and wrong, asks what account we should give of our ability to learn from our moral experience, and looks in some detail at the different sorts of ways in which moral reasons can combine to show us what we (...) should do in the circumstances. The second half of the book uses these results to mount an attack on consequentialism in ethics, arguing that there are more sorts of reasons around than consequentialists can even dream of. (shrink)

Publisher's description: The realistic spirit, a nonmetaphysical approach to philosophical thought concerned with the character of philosophy itself, informs all of the discussions in these essays by philosopher Cora Diamond. Diamond explains Wittgenstein's notoriously elusive later writings, explores the background to his thought in the work of Frege, and discusses ethics in a way that reflects his influence. Diamond's new reading of Wittgenstein challenges currently accepted interpretations and shows what it means to look without mythology at the coherence, commitments, and (...) connections that are distinctive of the mind. (shrink)

A monumental work by an important modern philosopher, Matter and Memory (1896) represents one of the great inquiries into perception and memory, movement and time, matter and mind. Nobel Prize-winner Henri Bergson surveys these independent but related spheres, exploring the connection of mind and body to individual freedom of choice. Bergson’s efforts to reconcile the facts of biology to a theory of consciousness offered a challenge to the mechanistic view of nature, and his original and innovative views exercised a profound (...) influence on other philosophers--including James, Whitehead, and Santayana--as well as novelists such as Dos Passos and Proust. Matter and Memory is essential to an understanding of Bergson’s philosophy and its legacy. (shrink)

In this urbane and witty book, Ronald de Sousa disputes the widespread notion that reason and emotion are natural antagonists.

One of the major works of an important modem philosopher, Matter and Memory investigates the autonomous yet interconnected planes formed by matter and perception on the one hand and memory and time on the other. Henry Bergson (1859-1941) was awarded the Nobel Prize in 1927. His works include Time and Free Will, An Introduction to Metaphysics, Creative Evolution, and The Creative Mind.

Abe and his friend Sol are out for a walk together in a part of town they haven't been in before. Passing a Christian church, they notice a curious sign in front that says "$1,000 to anyone who will convert." "I wonder what that's about," says Abe. "I think I'll go in and have a look. I'll be back in a minute; just wait for me." Sol sits on the sidewalk bench and waits patiently for nearly half an hour. Finally, (...) Abe reappears. "Well," asks Sol, "what are they up to? Who are they trying to convert? Why do they care? Did you get the $1,000?" Indignantly Abe replies, "Money. That's all you people care about." Ted Cohen thinks that's not a bad joke. But he also doesn't think it's an easy joke. For a listener or reader to laugh at Abe's conversion, a complicated set of conditions must be met. First, a listener has to recognize that Abe and Sol are Jewish names. Second, that listener has to be familiar with the widespread idea that Jews are more interested in money than anything else. And finally, the listener needs to know this information in advance of the joke, and without anyone telling him or her. Jokes, in short, are complicated transactions in which communities are forged, intimacy is offered, and otherwise offensive stereotypes and cliches lose their sting—at least sometimes. _Jokes_ is a book of jokes and a book about them. Cohen loves a good laugh, but as a philosopher, he is also interested in how jokes work, why they work, and when they don't. The delight at the end of a joke is the result of a complex set of conditions and processes, and Cohen takes us through these conditions in a philosophical exploration of humor. He considers questions of audience, selection of joke topics, the ethnic character of jokes, and their morality, all with plenty of examples that will make you either chuckle or wince. _Jokes:_ more humorous than other philosophy books, more philosophical than other humor books. "Befitting its subject, this study of jokes is... light, funny, and thought-provoking.... [T]he method fits the material, allowing the author to pepper the book with a diversity of jokes without flattening their humor as a steamroller theory might. Such a book is only as good as its jokes, and most of his are good.... [E]ntertainment and ideas in one gossamer package."—_Kirkus Reviews_ "One of the many triumphs of Ted Cohen's Jokes-apart from the not incidental fact that the jokes are so good that he doesn't bother to compete with them-is that it never tries to sound more profound than the jokes it tells.... [H]e makes you feel he is doing an unusual kind of philosophy. As though he has managed to turn J. L. Austin into one of the Marx Brothers.... Reading Jokes makes you feel that being genial is the most profound thing we ever do-which is something jokes also make us feel-and that doing philosophy is as natural as being amused."—Adam Phillips, _London Review of Books_ "[A] lucid and jargon-free study of the remarkable fact that we divert each other with stories meant to make us laugh.... An illuminating study, replete with killer jokes."—Kevin McCardle, _The Herald_ "Cohen is an ardent joke-maker, keen to offer us a glimpse of how jokes are crafted and to have us dwell rather longer on their effects."—Barry C. Smith, _Times Literary Supplement_ "Because Ted Cohen loves jokes, we come to appreciate them more, and perhaps think further about the quality of good humor and the appropriateness of laughter in our lives."—Steve Carlson, _Christian Science Monitor_. (shrink)

Wider possibilities for moral thought -- Objectivity revisited: a lesson from the work of J.L. Austin -- Ethics, inheriting from Wittgenstein -- Moral thought beyond moral judgment: the case of literature -- Reclaiming moral judgment: the case of feminist thought -- Moralism as a central moral problem.

In this article, I examine Cavell’s understanding and deployment of the categories of ‘evil’ and the ‘monstrous’ in The Claim of Reason. Arguing that these notions cannot be understood apart from Cavell’s reliance on the notion of an ‘internal relation,’ I trace this notion to its Wittgensteinian roots. Ultimately, I show that Cavell’s view of evil allows us to navigate between two horns of a classic dilemma in thinking about evil: it allows us to see evil as neither a privation (...) nor as a positive force with supra-human potency. (shrink)