In recent work Mary Kate McGowan presents an account of oppressive speech inspired by David Lewis's analysis of conversational kinematics. Speech can effect identity-based oppression, she argues, by altering 'the conversational score', which is to say, roughly, that it can introduce presuppositions and expectations into a conversation, and thus determine what sort of subsequent conversational 'moves' are apt, correct, felicitous, etc., in a manner that oppresses members of a certain group (e.g. because the suppositions and expectations derogate or demean members (...) of that group). In keeping with the Lewisian picture, McGowan stresses the asymmetric pliability of conversational scores. She argues that it is easier to introduce (for example) sexist presuppositions and expectations into a conversation than it is to remove them. Responding to a sexist remark, she thus suggests, is like trying to "unring a bell". I begin by situating McGowan's work in the wider literature on speech and social hierarchy, and explaining how her account of oppressive speech improves upon the work of others in its explication of the relationship between individuals' verbal conduct and structurally oppressive social arrangements. I then propose an explanation and supportive elaboration of McGowan's claims about the asymmetric pliability of conversations involving identity-oppressive speech. Rather than regarding such asymmetry as a sui generis phenomenon, I show how we can understand it as a consequence of a more general asymmetry between making things salient and un-salient in speech, and I show how this asymmetry also operates in various cases that interested Lewis. (shrink)

Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.

We defend the view of some feminist writers that the notion of silencing has to be taken seriously in discussions of free speech. We assume that what ought to be meant by ‘speech’, in the context ‘free speech’, is whatever it is that a correct justification of the right to free speech justifies one in protecting. And we argue that what one ought to mean includes illocution, in the sense of J.L. Austin.

Catharine MacKinnon has claimed that pornography is the subordination of women. Rae Langton has defended the plausibility and coherence of this claim by drawing on speech act theory. I argue that considering the role of context in speech acts poses serious problems for Langton's defence of MacKinnon. Langton's account can be altered in order to accommodate the role of context. Once this is done, however, her defence of MacKinnon no longer looks so plausible. Finally, I argue that the speech act (...) approach (adapted to account for context) offers an appealing way to make sense of disagreements over pornography; but also that this will probably not be so appealing to most proponents of the speech acts approach. (shrink)

If, as many suppose, pornography changes people, a question arises as to how.1 One answer to this question offers a grand and noble vision. Inspired by the idea that pornography is speech, and inspired by a certain liberal ideal about the point of speech in political life, some theorists say that pornography contributes to that liberal ideal: pornography, even at its most violent and misogynistic, and even at its most harmful, is political speech that aims to express certain views about (...) the good life, 2aims to persuade its consumers of a certain political point of view—and to some extent succeeds in persuading them. Ronald Dworkin suggests that the pornographer contributes to the ‘moral environment, by expressing his political or social convictions or tastes or prejudices informally’, that pornography ‘seeks to deliver’ a ‘message’ , that it reflects the ‘opinion’ that ‘women are submissive, or enjoy being dominated, or should be treated as if they did’, that it is comparable to speech ‘advocating that women occupy inferior roles’.3 Pornography on this view is political speech that aims to persuade its listeners of the truth of certain ideas about women, and of course ‘the government must leave to the people the evaluation of ideas’.4 Another answer offers a vision that is not grand and noble, but thoroughly reductive. Pornography is not politically persuasive speech, but speech that works by a process of psychological conditioning. This view seems common enough in the social science literature. Consider, for example, this description of an early experiment, from a time that pre-dates contemporary political debate. (shrink)

In this paper, I argue that in at least some interesting cases, the moral value of a narrative work depends on the aesthetic properties of that artwork. It does not follow that a work that is aesthetically bad will be morally bad (or that it will be morally good). The argument comprises four stages. First I describe several different features of imaginative engagement with narrative artworks. Then I show that these features depend on some of the aesthetic properties of those (...) works. Third, I argue that these same features of imaginative engagement are morally salient, by virtue of inviting more or less sophisticated and reflective moral responses. Finally, I show that the overall moral value of an artwork depends in part on whether or not the prescribed response is simple or complex, passive or reflective. (shrink)

In this article, I identify a distinctive form of injustice—ontic injustice—in which an individual is wronged by the very fact of being socially constructed as a member of a certain social kind. To be a member of a certain social kind is, at least in part, to be subject to certain social constraints and enablements, and these constraints and enablements can be wrongful to the individual who is subjected to them, in the sense that they inflict a moral injury. The (...) concept of ontic injustice is valuable in three main ways: it draws our attention to the role played by social kinds in enacting wrongful constraints and enablements; it clarifies our options for developing accounts of the ontology of particular social kinds, such as gender kinds; and, along with the related concept of ‘ontic oppression’, it helps us to understand and respond to oppression. (shrink)

This paper is about an overlooked aspect—the cognitive or epistemic aspect—of the moral demand we place on one another to be treated well. We care not only how people act towards us and what they say of us, but also what they believe of us. That we can feel hurt by what others believe of us suggests both that beliefs can wrong and that there is something we epistemically owe to each other. This proposal, however, surprises many theorists who claim (...) it lacks both intuitive and theoretical support. This paper argues that the proposal has intuitive support and is not at odds with much contemporary theorizing about what we owe to each other. (shrink)

Sally Haslanger has recently argued that philosophical focus on implicit bias is overly individualist, since social inequalities are best explained in terms of social structures rather than the actions and attitudes of individuals. I argue that questions of individual responsibility and implicit bias, properly understood, do constitute an important part of addressing structural injustice, and I propose an alternative conception of social structure according to which implicit biases are themselves best understood as a special type of structure.

In contrast to film, theater, and literature, audiences typically sing along with popular songs. This can encourage a first-person mode of engagement with the narrative content. Unlike mere spectators, listeners sometimes imagine acting out the content when it is recited in the first-person. This is a common mode of engaging with popular music. And it can be uniquely morally problematic. It is problematic when it involves the enjoyment of imaginatively doing evil. I defend a Moorean view on the issue: It (...) is wrong to enjoy evil whether real or merely fiction. I develop my position through an examination of the controversially song "Mind of a Lunatic" (1990) by the Houston based rap group Geto Boys. (shrink)

Can one fully succeed in performing illocutionary acts addressed to others if they do not understand what one is purportedly saying? Can one, for example, tell others something if they do not understand what one supposedly said? It is not uncommon for speech act theorist to claim that one cannot. I, in contrast, will be arguing that it is possible for a speaker to fully succeed in performing interpersonal illocutionary acts even if addressee understanding of what is said is not (...) produced, is not intended to be produced and is even intended not to be produced. (shrink)

How do we achieve social justice? How do we change society for the better? Some would argue that we must do it by changing the laws or state institutions. Others that we must do it by changing individual attitudes. I argue that although both of these factors are important and relevant, we must also change culture. What does this mean? Culture, I argue, is a set of social meanings that shapes and filters how we think and act. Problematic networks of (...) social meanings constitute an ideology. Entrenched ideologies are resilient and are barriers to social change, even in the face of legal interventions. I argue that an effective way to change culture is through social movements and contentious politics, and that philosophy has a role to play in promoting such change. (shrink)

Most discussions of racial fetish center on the question of whether it is caused by negative racial stereotypes. In this paper I adopt a different strategy, one that begins with the experiences of those targeted by racial fetish rather than those who possess it; that is, I shift focus away from the origins of racial fetishes to their effects as a social phenomenon in a racially stratified world. I examine the case of preferences for Asian women, also known as ‘yellow (...) fever’, to argue against the claim that racial fetishes are unobjectionable if they are merely based on personal or aesthetic preference rather than racial stereotypes. I contend that even if this were so, yellow fever would still be morally objectionable because of the disproportionate psychological burdens it places on Asian and Asian-American women, along with the role it plays in a pernicious system of racial social meanings. (shrink)

Moral grandstanding is a pervasive feature of public discourse. Many of us can likely recognize that we have engaged in grandstanding at one time or another. While there is nothing new about the phenomenon of grandstanding, we think that it has not received the philosophical attention it deserves. In this essay, we provide an account of moral grandstanding as the use of public discourse for moral self-promotion. We then show that our account, with support from some standard theses of social (...) psychology, explains the characteristic ways that grandstanding is manifested in public moral discourse. We conclude by arguing that there are good reasons to think that moral grandstanding is typically morally bad and should be avoided. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:WORKS OF FICTION AND ILLOCUTIONARY ACTS by Gregory Currie ii O peech act theory is remarkably unhelpful in explaining what ficOtion is." So says Kendall Walton.1 My purpose here is to showjust how wrong diis judgment is. Not that I want to endorse all die attempts there have been to connect fiction with the notion of a speech act. Elsewhere I have argued diat the most prominent attempt at (...) such a theory, the one due to John Searle, fails.2 But my complaint is not mat Searle employs the idea of a speech act; rather it is that he employs it in too half-hearted a fashion. The idea of Searle and odiers is diat to write fiction is not to perform a speech act, but rather to pretend to do so. I, on the odier hand, take the view that the writer of fiction engages in an act of speech diat is distinctively fictional, and distinctively different from speech acts such as asserting, requesting, questioning, and so forth. What follows is a much simplified account of this idea.3 Following die program of Strawson and Grice, I believe diat the different kinds of speech acts are to be individuated in terms of the utterer's intentions.4 The intention of the one who asserts is to get a certain kind of response; perhaps to get the audience to believe the proposition asserted.5 The one who commands wants the audience to obey, die requester wants the audience to answer, etc. And in all these cases the utterer intends to get the response partly as a result of the audience's recognition of diat very intention. (This is the familiar Gricean mechanism.) The utterer of fiction, on the odier hand, wants to get the audience to make-believe die proposition uttered.6 Thus we have an act structurally similar to 304 Gregory Currie305 paradigmatic speech acts like asserting, commanding, and requesting (die structural similarity being given by the use in all cases of the Gricean intention ), but differing from diese odiers with respect to die content of the utterer's intention. Let us call such an act a.fictive illocutionary act. Pursuing this line in more detail leads to an intuitively satisfactory taxonomy of speech acts which places the uttering (usually writing) of fiction fully widiin die purview of the theory, rather dian shutting it off to one side as a pseudo-performance, as widi Searle. Is such a theory susceptible to the objections diat Walton brings? Walton is quite right to say (and here I suppose he has Searle in mind) that fiction is not simply the absence ofillocutionary force: "it is something positive, something special" (p. 79). As already indicated, my theory gives a positive account of fiction as a special kind of speech act. But Walton presses the issue further by suggesting that the essence of fiction has nodiing to do with die absence of assertive force. It is possible, he says, "to make an assertion by writing fiction." His point is not merely that fictional stories are sometimes told in order to get across some serious but not explicit point — everyone can agree to that. It is rather diat fictional works contain explicit assertions — e.g., some of Tolstoy's sentences about Napoleon in War and Peace — and that a fiction might contain nothing but assertions. He imagines a genre of historical fiction in which "authors are allowed no liberties with the facts, and in which they are understood to be asserting as fact whatever they write" (p. 80). Let us grant that this is a possibility. What, dien, would distinguish a piece of fiction belonging to this genre from, say, a work of historical scholarship? The answer comes when we see that the same utterance can be used to perform more than one illocutionary act. Thus if I say to someone "I have no money" it may be that I want him both to believe that I have no money and to give me the goods on credit. And in both cases I intend to get die desired responses via his recognition of my intentions. The same utterance can count both as an assertion... (shrink)

Here I defend response moralism, the view that some emotional responses to fi ctions are morally right, and others morally wrong, from the objection that responses to merely fi ctional characters and events cannot be morally evaluated. I defend the view that emotional responses to fi ctions can be morally evaluated only to the extent that said responses are responses to real people and events.

This paper argues that linguistic oppression is coherent; speech can oppress. Moreover, even though oppression is a structural phenomenon, a single utterance can nevertheless be an act of oppression. This paper also argues that ordinary utterances can oppress. That is, speakers do not need to have and be exercising authority in order for their speech to be oppressive. Furthermore, ordinary speech can oppress even though the speakers do not intend to oppress, even though the hearers do not take it to (...) oppress, even though the oppressed do not hear it, and even though the oppressed are unaware of being oppressed. On the account offered here, linguistic oppression is sneaky, hidden, and surprisingly widespread. (shrink)

There is a consensus that satire cannot be defined, but is best characterized by a cluster account. However, I argue that a cluster account does not acknowledge the artistically and politically significant distinction between real satire and some forms of frivolous topical comedy which are casually labeled ‘satire’ in international media contexts. To uphold this distinction, I introduce a weak proposal that satire is a genre which necessarily sets out to critique and entertain (with the qualification that these purposes necessarily (...) interact, although neither is wholly instrumental to the other). I further argue that this proposal also provides necessary and sufficient conditions for a definition of satire. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 96-112 [Access article in PDF] A Theory of Fiction A. P. Martinich What is the chief linguistic difference between fiction and nonfiction? My answer, in brief, is that in fiction the Supermaxim of Quality, "Do not participate in a speech act unless you can satisfy all the conditions for its nondefective performance," is suspended. My thesis depends on a modified version of H. P. (...) Grice's theory of conversation. In saying that the Supermaxim of Quality is suspended in fiction, I do not mean that no speech acts are performed. On the contrary, many are; some of them are the same as those that would be performed in a nonfictional context. Sometimes ordinary statements and requests are made, and questions are asked in fiction, as we shall see in section II. However, many of the speech acts performed in fiction are made possible by the fact that the Supermaxim is suspended, and thus the normal consequences of performing and evaluating the speech acts are not in force. This will also be explained in section II.On the one hand, since my theory depends on a more general theory of language, those who accept the general theory will have further evidence of its power, while some of those who do not accept it may be more inclined to if they see that it smoothly accounts for fiction. On the other hand, those who do not accept the more general theory may be reluctant to see any merit in my theory. In addition, because of the almost universal acceptance among Anglo-American philosophers of the Axiom of Existence, which holds that everything referred to must exist, my rejection of that axiom may disincline some philosophers to accept the present theory of fiction. I discuss the axiom in section III. [End Page 96] I Before presenting my theory, there are two preliminary matters to discuss. The first involves the distinction between talk-in-fiction, talk-about-fiction, and talk-about-reality.Talk-in-fiction is the talk or writing that constitutes fictional works, e.g., the sentences in Ordinary People. But the preceding sentence is an example of talk about fiction: I said something about the fictional work Ordinary People. Whenever a philosopher discusses fiction, he uses talk about fiction to explain talk in fiction. Some philosophers give the impression that the terms talk-in-fiction and talk-about-fiction are mutually exclusive. But they are not. When one novel talks about another, talk-in-fiction is also talk-about-fiction. In Judith Guest's Ordinary People, the narrator says, "He had thought about being a Soldier of Fortune, after reading The Three Musketeers."The terms talk-in-fiction and talk-about-reality are also not mutually exclusive and hence do not form a proper distinction. Many novels, including historical ones, talk about reality. The first sentence of Gore Vidal's Burr is "Shortly before midnight, July 1, 1833, Colonel Aaron Burr, aged seventy-seven, married Eliza Jumel, born Bowen...." What Vidal has written is true and intended to be true about the real world. In the "Afterword," he talks about his "meticulous" research and notes that he "tried to keep to the known facts." Thus, if he were wrong about Burr's late marriage or about many other things, he would be liable to criticism, even though he is not required to make every statement in the novel historically accurate.Historical novels are not the only ones that talk about reality. The first sentence of Leo Tolstoy's Anna Karenina, "Happy families are all happy in the same way, unhappy families unhappy in their separate, different ways," is a real statement made in fiction about real families as much as fictional ones. 1 Tolstoy is not pretending to make the statement he would be making if he were writing an essay or sociological treatise. He is simply making a statement about happy and unhappy families. We learn or, at least, are induced to think about a feature of the real world.Talk-in-fiction is sometimes referred to as "fictional talk," as if it... (shrink)

This paper criticizes Langton's speech act account of MacKinnon's claim about (the subordinating force of) pornography and offers a different account of how speech might enact harmful norms and thus constitute harm.

In Born Free and Equal: A Philosophical Inquiry into the Nature of Discrimination, Kasper Lippert-Rasmussen defends the harm-based account of the wrongness of discrimination, which explains the wrongness of discrimination with reference to the harmfulness of discriminatory acts. Against this view, we offer two objections. The conditions objection states that the harm-based account implausibly fails to recognize that harmless discrimination can be wrong. The explanation objection states that the harm-based account fails adequately to identify all of the wrong-making properties of (...) discriminatory acts. We argue that the structure of a satisfactory view cannot be outcome-focused. A more promising family of views focuses on the deliberation of the discriminator and in particular on the reasons that motivate or fail to motivate her action. (shrink)

Journal of Social Philosophy, EarlyView.

Ethicism is the most comprehensively defended answer to the question regarding whether ethical properties determine aesthetic properties in artworks. According to ethicism, aesthetically relevant ethical flaws in artworks count as aesthetic flaws and aesthetically relevant ethical merits count as aesthetic merits. In this paper, I argue that ethicism’s most significant argument, the Merited Response Argument suffers from an ambiguity that makes it either unsound or uninteresting. Specifically, the notion of an artwork’s ‘prescribing’ a response, central to MRA, is ambiguous between (...) merely attempting to elicit a response from appreciators as appropriate to a work, and endorsing a response as appropriate to relevant parts of the actual world. While the first sense of ‘prescribe’ does the aesthetic work, the second does the ethical. (shrink)

I explore the claim that “fictive imagining” – imagining what it is like to be a character – can be morally dangerous. In particular, I consider the controversy over William Styron’s imagining the revolutionary protagonist in his Confessions of Nat Turner. I employ Ted Cohen’s model of fictive imagining to argue, following a generally Kantian line of thought, that fictive imagining can be dangerous if one has the wrong motives. After considering several possible motives, I argue that only internally directed (...) motives can satisfy the moral concern. Finally, I suggest that when one has the right motives, fictive imagining is morally praiseworthy since it improves one’s ability to imagine the lives of others. (shrink)