Comic immoralism is the view that sometimes funny things are funny due to their having immoral properties of some sort. Immoralism has many proponents and detractors. The purpose of this paper is twofold. First, I clarify the scope and content of comic immoralism as a general thesis in the philosophy of humor. I will argue that the debate about immoralism has unduly excluded certain categories of humor from inclusion, and that the language which immoralists (...) sometimes use can be misleading. Second, I argue for my own version of immoralism, which I call ridicule immoralism. Ridicule immoralism holds that sometimes things are funny due to their being ridiculous, and that things are often ridiculous due to being morally flawed. It follows from this that a version of comic immoralism is true. (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.

Immoralists hold that in at least some cases, moral fl aws in artworks can increase their aesthetic value. They deny what I call the valence constraint: the view that any effect that an artwork’s moral value has on its aesthetic merit must have the same valence. The immoralist offers three arguments against the valence constraint. In this paper I argue that these arguments fail, and that this failure reveals something deep and interesting about the relationship between cognitive and moral value. (...) In the fi nal section I offer a positive argument for the valence constraint. (shrink)

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective (...) authorship (coupled with our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

Comics comprise a hybrid art form descended from printmaking and mostly made using print technologies. But comics are an art form in their own right and do not belong to the art form of printmaking. We explore some features art comics and fine art prints do and do not have in common. Although most fine art prints and comics are multiple artworks, it is not obvious whether the multiple instances of comics and prints are artworks in their own right. The (...) comparison of comics and fine art prints provides a promising test for assessing how hybrid art forms develop more generally, and for assessing how they differ from closely related nonhybrid cousins. (shrink)

Nietzsche’s Immoralism begins a two-volume critical reconstruction of a socialist, democratic, and non-liberal Nietzschean politics. Nietzsche’s ideal of amor fati (love of fate) cannot be individually adopted because it is incompatible with deep freedom of agency. However, we can create its social conditions thanks to an under-appreciated aspect of his will-to-power psychology. We are driven not toward domination and conquest but toward resistance, contest, and play―a heightened feeling of power provoked by equal challenges that enables the non-instrumental affirmation of (...) suffering. This incompatibilist, anti-teleological psychology leads to Nietzsche’s distinctive immoralism: the abandonment of cultural means of human improvement for a historical materialist politics of breeding that produces future higher types through changes to our political order’s material conditions. Politics becomes first philosophy: it is not grounded in moral values but is instead the very source of their legitimacy. Moreover, despite Nietzsche’s professed aristocratism, his immoralism offers a stronger foundation for a renewed left, attacking conservative politics at its very root: the belief in moral order, authority, and responsibility. (shrink)

Argues for the controversial and initially counterintuitive thesis that theatrical magic (that is, the performance of conjuring tricks) is a form of standup comedy.

Purpose: The modern development of mass culture is characterized by the growth of the market for graphic narratives, the rapid increase in the segment of digital comics, and the active use of comics as a communication tool in various industries and disciplinary areas. The purpose of the study: to determine the media capabilities of the comics in presenting educational, cross-cultural, problematic, and ethical content of modern organizational culture. Design / Method / Approach: The review nature of the article involves the (...) use of traditional general scientific methods (description, comparison, abstraction, and specification). The interdisciplinary nature of the study actualized the comparative method in presenting the cross-cultural features of organizational/office/corporate comics. Findings: The influence of visual mass culture and the spread of interdisciplinary research tools made it possible to analyze three areas within the stated problematic: adaptive and audience-oriented comics techniques popularized their use for training and educational purposes; the possibility of comparing the typology of world comics with cross-cultural global studies (we relied on the methodology and results of the GLOBE (Global Leadership and Organizational Behavior Effectiveness) project); the ability of the comics to reproduce, maintain, and spread the tradition of a particular organizational culture. Theoretical value of the study: The work has expanded: (1) the possibilities of a multidisciplinary approach to comics culture in order to clarify the interdisciplinary methodology; (2) the idea of forming and maintaining an authentic organizational culture using comics techniques; (3) the possibilities of using graphic narratives in the process of educational and professional communication. Practical value of the study: The possibilities of using comics in modern organizational culture at the level of self-presentation, training, and maintaining traditions. Originality/value of the study: A multidirectional analysis of the influence of mass culture (comics as a part of it) on the representation of everyday modern business processes is presented. Research limitations / Future research: Analyzing business processes in the language of graphic culture requires valid methods. Further research requires a larger statistical sample and improved interdisciplinary methods. -/- Мета роботи: Сучасний розвиток масової культури характеризується зростанням ринку графічних наративів, стрімким збільшенням сегмента цифрових коміксів, активним використанням коміксу як інструменту комунікації в різних галузях і дисциплінарних напрямах. Мета дослідження: визначити медійні можливості коміксу в представленні освітньо-навчального, кроскультурного та проблемно-етичного контенту сучасної організаційної культури. Дизайн / Метод / Підхід дослідження: Оглядовий характер статті передбачає залучення традиційних загальнонаукових методів (опис, порівняння, абстрагування та конкретизація). Міждисциплінарність дослідження актуалізувала компаративний метод у представленні крос-культурних особливостей організаційних/офісних/корпоративних коміксів. Результати дослідження: Вплив візуальної масової культури та поширення міждисциплінарних інструментів дослідження уможливили в межах заявленої проблематики аналіз трьох напрямів: адаптивні та аудиторноспрямовані коміксові техніки популяризували їх використання з навчальною та освітньою метою; можливість зіставлення типології світових коміксів з кроскультурними глобальними дослідженнями (ми спиралися на методику та результати проєкту GLOBE (Global Leadership and Organizational Behavior Effectiveness); можливості коміксу відтворювати, підтримувати та поширювати традицію певної організаційної культури. Теоретична цінність дослідження: Робота розширила: (1) можливості різновекторного підходу до коміксової культури з метою уточнення міждисциплінарної методики; (2) уявлення щодо формування та підтримки автентичної організаційної культури за допомогою коміксових технік; (3) можливості використання графічних наративів в процесі навчально-освітньої та професійної комунікації. Практична цінність дослідження: Можливості використання коміксу в сучасній організаційній культурі на рівні самопрезентації, навчання та підтримки традицій. Оригінальність/цінність дослідження: Презентовано різновекторний аналіз впливу масової культури (коміксової як її частини) на представлення повсякдення сучасних бізнес-процесів. Обмеження дослідження / Майбутні дослідження: Аналіз бізнес-процесів мовою графічної культури вимагає валідних методів. Подальші дослідження потребують більшої статистичної вибірки та вдосконалення міждисциплінарних методик. (shrink)

What would happen if lightning struck a tree in a swamp and transformed it into The Swampman, or if saving billions of lives required sacrificing millions first? The first is a philosophical thought experiment devised by Donald Davidson, the second a theme from a comic written by Alan Moore. I argue that that comics can be read as containing thought experiments and that such philosophical devises should be shared with students of all ages.

In this book, author Gene Fendt shows how Plato's Republic provides a liturgical purification for the political and psychic delusions of democratic readers, even as Socrates provides the same for his interlocutors at the festival of Bendis. Each of the several characters is analyzed in accord with Book Eight's 6 geometrically possible kinds of character showing how their answers and failures in the dialogue exhibit the particular kind of movement and blindness predictable for the type.

Following Freud’s analysis of the fragile line between the uncanny double and its comic redoubling, I identify the doubling of the double found in critical moments of Hegelian dialectic as producing a kind of comic effect. It almost goes without saying that two provides greater pleasure than one, the loneliest number. Many also find two to be preferable to three, the tired trope of dialectic as a teleological waltz. Two seems to offer lightness, relieving one from her loneliness (...) and lacking the complications of a third who comes in between. And yet, we learn through Marx and Freud that the double (even the double of tragedy and farce) borders on something closer to horror than comedy. -/- In the following, I would like to explore why four is funnier than two in my staging of dialectic as the doubling of the double or, to borrow a movie title from Laurel and Hardy, “Twice Two” (Roach et al. 1933a). I will begin by exploring the formulations of the double in the form of a pair of opposites and in the form of a pair of twins. The literary tropes of the double as the odd couple, on one side, and the twins, on the other, appear to serve very different narrative functions, which incite different kinds of affective responses from the audience. However, the form of the opposed double sometimes conceals the realization that the empty or fragmented content of the first is only reduplicated in the second. The “straight man” of the odd couple cannot see himself in his counterpart “the comic.” The redoubling of the double, however, forces not only the audience, but the original double on stage to confront what was already present, but unrealized, from the beginning. To illustrate this redoubling of the double within the opening of Hegel’s Science of Logic, I consider two short films by Laurel and Hardy in which the comic duo redoubles itself. The formula (2 x 2) produces a comic excess through the dialectical redoubling of there uncanny double. (shrink)

In this essay, I take up the question of why so many of the movies made by Hollywood are endless sequels, “prequels,” and remakes of prior blockbuster hits and so many are based on comic books (X-men, Superman, Batman, and so on). I tie the explanation in part to the aforementioned 1950 Supreme Court ruling prohibiting production companies, and in part to broader cultural changes. In particular, I argue that precisely because film producers can no longer make money from (...) the concessions (i.e., the purchases within the theater), but only of the ticket sales, the producers keep producing remakes of known popular movies, rather than make deeply original movies. (shrink)

Modern scientific communication traditionally uses visual narratives, such as comics, for education, presentation of scientific achievements to a mass audience, and as an object of research. The article offers a three-level characterization of the interaction of comic culture and science in a diachronic aspect. Attention is focused not only on the chronological stages of these intersections, the expression of the specifics of the interaction is offered against the background of scientific and public discussions that accompany the comics–science dialogue to (...) this day. Within the framework of the first stage (the appearance and distribution of popular science and educational comics), the characteristics of comics content necessary for the different genesis are highlighted: documentary storytelling, educational practices of learning through drawing, active cooperation with well-known companies and institutions, informativeness and empathic involvement of the young reader in a heroico-romantic narrative of scientific discoveries and mastering nature. With the intensification of interdisciplinary approaches (the second stage), comics are increasingly involved in presenting scientific results within the most diverse fields. Comics-based research is becoming an interdisciplinary method and a widespread practical area with the corresponding formation of scientific tools (applied comics, data comics), forms of interdisciplinary interaction (graphic medicine, ethnography, narrative geography, urban comics, comics journalism, etc.), and scientific publications (“The Comics Grid: Journal of Comics Scholarship”, “Sequentials”). The national format of comics-based research is presented on the example of Ukrainian comics projects (historical, feminist comics). In the genesis of development, Comics Studies have gone from a field of research to disciplinary definitions. In the creation of the metadiscourse of the scientific direction (the third stage), the authors focused on scientific discussions, the formation of academic directions and approaches, and markers of disciplinary self-identification. Emphasis is placed on the unique phenomenon of the simultaneous concordance of various stages of the dialogue between comics and science, on the prolonged replication of successful inventions into modern experience, and the active testing of known narratives at new levels of a scientific presentation. (shrink)

At Apology 33c Socrates explains that "some people enjoy … my company" because "they … enjoy hearing those questioned who think they are wise but are not." At Philebus 48a-50b he makes central to his account of the pleasure of laughing at comedy the exposé of the self-ignorance of those who presume themselves wise. Does the latter passage explain the pleasure of watching Socrates at work? I explore this by tracing the admixture of pain, the causes, and the "natural harmony" (...) that Socrates' general account of pleasure implies for laughing at comedy. These reflections precipitate an aporia about the moral effect of Socrates' elenchtic practice. I suggest a path through the aporia that keys from Socrates' notion of "human wisdom" and the distinctive structure Plato gives the dialogues. (shrink)

This essay explores the interrelationship between tragedy and comedy, with specific focus given to the potential that comedy can provide in transforming the most tragic of situations. In building this claim, the very dynamics and distinctions that divide the tragic from the comic are considered in view of the self-negation that the comic posits. That is, while tragedy requires a certain acceptance of the finite, from which destiny and circumstance come to certify the hero’s tragic predicament, in comedy, (...) what succeeds is that which functions through an act of self-negation. This, it is argued, offers a subversive redefining of tragedy, one that proves constitutive of a comic fatalism that does not mourn one’s tragic predicament or fated end, but, instead, fully identifies with our comic predicament. Going beyond the pitfalls of political nicety and moral condemnation, which seek easy gratification or cynical distance, the conclusion examines the conceptual artist, Vanessa Place, and her performance of rape jokes. (shrink)

This paper intends to show that Friedrich Nietzsche’s approach to morality or ‘immorality’ involves an attempt to see moral beliefs as a product of human psychology, rather than as a set of metaphysical ‘truths’ that are somehow given to, or discoverable by, us. Nietzsche wants to replace the metaphysical (or supernatural) account of morality with a natural one, and his treatment of moral belief-systems, from the perspective of this concern, can be divided into (a) a psychological analysis of the true (...) nature of moral action and agency, and (b) an historical/genealogical tracing of the real origins of moral values. In this paper I am going to focus on the second dimension of Nietzsche’s analysis through references from his polemical texts Beyond Good and Evil, Genealogy of Morals, Gay Science, and Will to Power. I will outline Nietzsche’s historical leitmotif on the morality of ressentiment or slave morality and will show how it figures as a point of departure for his revolutionary transvaluation of values, one that places a new order of morality which is disparagingly called ‘immoralism.’ Next, I will discuss Nietzsche’s treatment of bad conscience and posit that it involves two different stages: one is the present stage of the bad conscience as a feeling of guilt, and the other is an earlier stage. I shall argue that in order for this earlier stage to develop into the level of guilt, he needs another element, namely an indebtedness towards gods, which finds its most striking culmination in the Christian heritage of religious dogmatism. Finally, I will discuss how for Nietzsche Christianity as an ascetic ideal has promoted to preserve a declining life, i.e. a slave morality, for all of humanity. (shrink)

The COVID-19 pandemic paved the way for the emergence of the Boys’ Love (BL) theme and genre throughout various media platforms, causing disruptive visibility to the narratives and representation of gays (Andrada in an interview by Antonio, 2021; Ting, 2020). This disruption may have started a dialogue in social media, but this dialogue was only a limited attempt given that most of the discussions have stereotypical representations of gay men (Celso, 2020). This study analyzes how humor was applied in the (...) online comic, SariSari Story, and how humor is used in the portrayal of the gay characters in this online comic. The analysis uses Grice’s (2012) pragmatic framework of conversational maxims: quality, quantity, manner, and relation. Humor was indicated in the non-observance of one or more maxim(s), which, then, caused the implicatures. The study found that the most non-observed maxims were quantity, manner, and relation. The prominent type of humor present in the comic was the Freudian slip, where the slips contained sexual metaphors mostly associated with the characters’ sexual desires towards each other. As an example of the BL genre, the Sari-Sari Story online comic stereotyped its presentation of gay characters as hypersexual in their relationships with each other. In this, it deviated from the conventions of the Pinoy BL present in the mainstream media. (shrink)

Like lynching and other mass hysterias, xenophobia exemplifies a contagious, collective wave of energy and hedonic quality that can point toward a troubling unpredictability at the core of political and social systems. While earlier studies of mass hysteria and popular discourse assume that cooler heads (aka rational individuals with their logic) could and should regain control over those emotions that are deemed irrational, and that boundaries are assumed healthy only when intact, affect studies pose individuals as nodes of biosocial networks (...) larger than themselves. Thus rather than suggesting that the individual can only prevent societal harm by gaining command and patrolling the borders of an autonomous self, we embrace the notion that affects can exert a positive and transformative force on a social reality that is resistant to top-down policy intervention and any straightforward moral or logical plea. (shrink)

From Basil Fawlty, The Little Tramp and Frank Spencer; to Jim Carey, Andy Kaufman and Rowan Atkinson... comedy characters and comic actors have proved useful lenses for exploring—and exposing—humor’s cultural and political significance. Both performing as well as chastising cultural values, ideas and beliefs, the comic character gives a unique insight into latent forms of social exclusion that, in many instances, can only ever be approached through the comic form. It is in examining this comic form (...) that this paper will consider how the ‘comedy character’ presents a unique, subversive significance. Drawing from Lacanian conceptions of the subject and television ‘sitcom’ examples, the emancipatory potential of the comedy character will be used to criticize the predominance of irony and satire in comic displays. Indeed, while funny, it will be argued that such comic examples underscore a deprivative cynicism within comedy and humor. Countering this, it will be argued that a Lacanian conception of the subject can profer a comic efficacy that not only reveals how our social orders are inherently inconsistent and open to subversive redefinition, but that these very inconsistencies are also echoed in the subject, and, in particular, the ‘true comedy character’. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This chapter explores the interaction between the moral value and aesthetic value of food, in part by connecting it to existing discussions of the interaction between moral and aesthetic values of art. Along the way, this chapter considers food as art, the aesthetic value of food, and the role of expertise in uncovering aesthetic value. Ultimately this chapter argues against both food autonomism (the view that food's moral value is unconnected to its aesthetic value) and Carolyn Korsmeyer's food moralism (the (...) view that moral flaws can only make food aesthetically worse). Instead, it argues for the position of food immoralism: sometimes a moral flaw can make an item of food aesthetically better. This chapter concludes by drawing out broader implications of this position for discussions on the ethics of food and discussions on the interaction between the moral and aesthetic values of art. (shrink)

Comic book superheroes tend to be conservative and their opponents progressive. Here I explore the reasons for heroic conservatism, review recent disruptions to the trend, and consider what superhuman politics can tell us about our own transhuman and science fictional conditions.

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

In the 5th century a number of sophists challenged the orthodox understanding of morality and claimed that practicing injustice was the best and most profitable way for an individual to live. Although a number of responses to sophistic immoralism were made, one argument, in fact coming from a pair of sophists, has not received the attention it deserves. According to the argument I call Immortal Repute, self-interested individuals should reject immorality and cultivate virtue instead, for only a virtuous agent (...) can win the sort of everlasting reputation that makes a life truly admirable and successful. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

As is usually the case with what I work on, I read some stuff I liked. I 1 read an article on comics by Greg Hayman and Henry Pratt and some work on 2 videogames,GrantTavinor’sreallyexcellentworkonthattopic. Ifoundthematerial interesting and I thought I had something to say about it. That’s what usually motivates me and that’s what did in these cases. With comics, my interest in the medium played a big role. I was a child collector of Marvel. I got turned on (...) to independent and alternative comics about ten years ago by a good friend who’s a successful comics artist and that played a role in my writing about comics. (shrink)

Growth in popularity of computer games is a noticeable change in recent years. Electronic entertainment increasingly engages the wider society and reaches to new audiences by offering them satisfy of wide variety of needs and aspirations. As a mass media games not only provide entertainment, but they are also an important source of income, knowledge and social problems. Article aims to bring closer look on the common areas of games and comics. On the one hand designers and artists working on (...) games are often inspired by comic books, as well as they create their licensed adaptations and separate „interactive issues”. On the other hand more and more often we can see comics based on popular games. Study present the areas of agreement, cooperation or dependence like: technologies used to create games and comic books, use of comic books to comment events in the gaming industry and organization of exhibitions or events popularizing the works from both fields. ** W ostatnich latach dostrzegalny jest wzrost popularności gier komputerowych. Elektroniczna rozrywka angażuje uwagȩ coraz to szerszych krȩgów społecznych i dociera do nowych grup odbiorców oferuj¸a}c im zaspokojenie najrozmaitszych potrzeb i aspiracji. Jako środek masowego przekazu gry dostarczaj¸a} nie tylko rozrywki, ale stanowi¸a} też istotne źródło dochodów, wiedzy i problemów społecznych. Celem artykułu jest przybliżenie wspólnych obszarów gier i komiksu. Z jednej strony projektanci i artyści pracuj¸a}cy nad grami czȩsto czerpi¸a} inspiracjȩ z komiksów, jak również tworz¸a} ich licencjonowane adaptacje i odrȩbne, „interaktywne numery”. Z drugiej zaś coraz czȩściej publikowane s¸a} komiksy bazuj¸a}ce na popularnych grach. Opracowanie przedstawia również takie obszary porozumienia, współpracy, b¸adź zależności jak: technologie wykorzystywane przy tworzeniu gier i komiksów, zastosowanie komiksów w komentowaniu wydarzeń branży gier oraz organizowanie wystaw i imprez popularyzuj¸acych twórczość z obu dziedzin. (shrink)

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

We propose an extension of Discourse Respresentation Theory (DRT) for analyzing pictorial narratives. We test drive our PicDRT framework by analyzing the way authors represent characters’ mental states and perception in comics. Our investigation goes beyond Abusch and Rooth (2017) in handling not just free perception sequences, but also a form of apparent perspective blending somewhat reminiscent of free indirect discourse.

This book was first published in Japanese in 2013 and was warmly welcomed not only by general readers but also by specialists in philosophy. I believe that it succeeded in breaking new ground in the field of introductory approaches to philosophy. Many manga or comic books explaining the thought of major philosophers have already been published. There have also been manga whose story was conceived by philosophers. To the best of my knowledge, however, there has never been a book (...) in which a philosopher has illustrated his or her own philosophical thought entirely in manga form. There are no doubt many philosophers who can draw manga or illustrations, so it’s quite strange that no such book has been published until now. “I want to try drawing a manga introduction to philosophy myself!” After this idea came to me, I began by taking a draft of about twenty manga pages to the editing department at Kodansha Publications. The characters were awkward at first, but as I kept drawing they seemed to move more smoothly, and by the time I had finished it almost felt like they were speaking for themselves. I drew around 220 original pages in detail using a pencil. Manga creator Nyancofu Terada then gave these pencil drawings professional lines. It is entirely thanks to him that I was able to publish my manga in the Kodansha paperback series. As the title says, this book is an introduction to philosophy. I tried to write about questions like “What is philosophy?” and “What does it mean to think philosophically” for a general readership. This is not a book that presents easy-to-understand explanations of the theories of famous philosophers. Instead, I have tried to express as clearly as possible how I myself think about four major topics: “time,” “existence,” “I,” and “life.” By following this route, the reader will be led directly to the core elements of philosophical thought. My aim was to imbue this journey with a sense of speed and intensity. (shrink)

The Danish word 'incognito' means to appear in disguise, or to act under an unfamiliar, assumed name (or title) in order to avoid identification. As a concept, incognito occurs in several of Kierkegaard’s works, but only becomes a subject of reflection in two: the Concluding Unscientific Postscript to Philosophical Fragments by Johannes Climacus and Practice in Christianity by Anti-Climacus. Both pseudonyms develop the concept from their own perspective and must be understood on their own terms. Johannes Climacus treats incognito as (...) a category of existence, defining it as a comic contradiction that creates a disguise in order to hide and protect the inwardness of the existing individual. However, Anti-Climacus treats incognito as a category of communication. He defines it as “a sign of contradiction” that creates a disguise in order to activate and disclose the inwardness of a listener or reader. (shrink)

Dylan Dog, l’Indagatore dell’Incubo (the nightmare investigator), lives and works at 7 Craven Road in London. The comic book character is English, but he was created in Italy by Tiziano Sclavi in 1986, and it is still published today monthly. Dylan had enormous success, not only in Italy but worldwide. His job is to investigate, together with his assistant, Groucho, the paranormal, the irrational, the nightmare that can assume different forms and aspects. Dylan fights against all types of monsters: (...) vampires, zombies, werewolves, witches, even against Death itself. However, the horror that he faces is not always paranormal. The monsters are often extremely human. Maybe that is the reason why Dylan remains extremely skeptical and rational. Everything in Dylan Dog’s world revolves around the absurd, the chaos without explanation, without sense, and the need to find meaning in it. This chaos can take different forms: the horror that Dylan fights, but also the satirical and nonsense humor of Groucho. This irrational dimension manifests itself also through Dylan’s love and sexual life: in almost every story, Dylan falls in love with a different woman, who usually will die or will break his heart. Love and sex are strongly connected with horror and death in Dylan Dog’s narrative: they are irrational forces, from which it is not possible to escape. The purpose of this essay is to analyze the irrational and fearful dimension in Dylan Dog: l’orrore, as he calls it, but also its connection to sexuality and the comic relief provided by Groucho. This chaotic and monstrous reality will be analyzed mainly—but not only—through the Nietzschean concepts of Apollonian and Dionysian related to the concept of absurd as described by Albert Camus. In this frame, the analysis of René Girard’s Violence and the Sacred will also be helpful. Violence is an irrational and uncontrollable force, and its manifestation is tightly linked with the horror and the monstrous reality that it unveils. (shrink)

Comix Zone (Sega Technical Institute, 1995) is a two-dimensional scrolling beat ‘em up videogame released in 1995 for the Sega Mega Drive (known as Sega Genesis in North America). Comix Zone has two peculiarities which makes it even today an easily distinguishable videogame. These peculiarities are interrelated. First, Comix Zone imitates the aesthetics and visual settings peculiar to comic books, the aim of which is to join the experience of playing a videogame with that of reading a comic; (...) and second, Comix Zone is ultimately grounded on the philosophical claim that fictional characters are actually existing entities, distinct from, and even colliding with, their creator(s). It is pointed out that this claim on the nature of fictional characters was seriously argued for, and put it into literary practice, by the Spanish philosopher Miguel de Unamuno (1864–1936). (shrink)

The Joker both fascinates and repels us. From his origin in Detective Comics in 1940, he has committed obscene crimes, some of the worst the Batman universe has ever known, and, conversely, fans have made him the topic of erotic and pornographic “fan fiction.” Speculation about the Joker abounds, where some fans have even claimed that the Joker is “queer coded.” This work explores various popular claims about the Joker, and delves into the history of comic books, and of (...) other popular media from a semiotic viewpoint to understand “The Clown Prince of Crime” in the contexts in which he existed to understand his evolution in the past. From his roots as a “typical hoodlum,” The Joker even starred in his own eponymous comic book series and he was recently featured in a non-canonical movie. This work examines what it is about the Joker which fascinates us. (shrink)

Two critical yet comic elements, beyond the more obvious narrative of persecution, reveal themselves in Adorno's recorded nightmare. The first is comic because it so aptly displays his relentless critical impulse despite himself, the way in which theory invades the private sphere of his dreams: even in sleep, Adorno finds himself at once reading phenomena and on guard against a false transcendence from which they could, in the last instance, be deciphered.1 The second is more patently absurd, yet (...) perhaps more difficult to assess: that he should gain permission to interrupt an unspeakably cruel and final punishment, an essentially hopeless…. (shrink)

La question des rapports du spinozisme à l’axiologie a fait l’objet de nombreux débats. Certains commentateurs considèrent Spinoza comme étant profondément immoraliste, alors que pour d’autres, il maintient l'ensemble des valeurs humaines. Spinoza a cherché à dépasser l’utilitarisme propre au conatus de chacun, afin de fonder un altruisme rationnel. Il souligne que le bien auquel l’homme aspire lorsqu’il suit la vertu, il le désirera aussi pour tous les autres hommes. Cependant, les moyens mis en œuvre pour démontrer cette thèse semblent (...) problématiques. Cet article analyse la logique de la coopération interhumaine élaborée par Spinoza, ainsi que son idéal de l’homme libre, montrant, qu'en fait, il n'a pas réussi à surmonter la nature profondément égoïste du conatus. -/- The question of the relationship between Spinozism and axiology has been the subject of much debate. Some commentators consider Spinoza to be profoundly immoralist, while for others he upholds the set of human values. Spinoza sought to go beyond the utilitarianism proper to the conatus of each person, in order to establish a rational altruism. He emphasizes that the good to which man aspires when he follows virtue, he will also desire for all other men. However, the means used to demonstrate this thesis seem problematic. This article analyzes Spinoza's logic of interhuman cooperation, as well as his ideal of the free man, showing that, in fact, he failed to overcome the profoundly egoistic nature of conatus. -/- . (shrink)

Contemporary theorists critical of the current vogue for compassion might like to turn to Friedrich Nietzsche as an obvious ally in their opposition to the sentiment. Yet this essay argues that Nietzsche’s critique of compassion is not entirely critical, and that the endorsement of one’s sympathetic feelings is actually a natural outgrowth of Nietzsche’s immoralist ethics. Nietzsche understands the tendency to share in the suffering of their inferiors as a distinctive vulnerability of the spiritually strong and healthy. Their compassion, however, (...) is an essential element of the imaginative creativity that Nietzsche holds to be the goal of human existence. Although shared suffering may prove debilitating for some, great individuals must come to affirm their compassion as necessary in achieving accurate knowledge of the human condition. (shrink)

In this article, it has been aimed to examine Nietzsche’s main critique towards different understandings of morals in his era. With this criticism, it is aimed to integrally understand the opinions -which are articulated directly or metaphorically- towards morals which have been encountered. In here, while keeping in mind the difference between the concepts of immoralism and amoralism, Nietzsche’s views are interpreted. Being parallel to that aim mentioned above, it has been investigated if there is a thinking in Nietzsche (...) which can be seen as a kind of understanding of morals (maybe as the understanding of morals without morals) or not. And finally, it has been thought that if Nietzsche’s views on morals have any value for the 21st century and upcoming 22nd century human or not, whether there’s something left to learn for this human from his critiques or not. (shrink)

Jon Stewart, the famous comic of the Daily Show, takes on creationism, intelligent design and evolution.

Nietzsche’s Ecce homo, Notebooks and Letters: 1888-1889 / Translation by Daniel Fidel Ferrer. ©2023 Daniel Fidel Ferrer. All rights reserved. -/- Ecce homo: How One Becomes What One Is (Ecce homo: Wie man wird, was man ist). -/- Who should read Nietzsche? You can disagree with everything Nietzsche wrote and re-read Nietzsche to sharpen your attack. Philosophy. Not for use without adult supervision (required). Philosophy is a designated area for adults only. Read at your own risk. You have the pleasure (...) of reading and of course disagree with all philosophy. Warning philosophical ideas are present. Reading Nietzsche does not mean you will gain anything, in fact, you might lose your previous ideas. -/- Nietzsche does not call this book an autobiography (he has written many short autobiographical sketches before); but rather, uses the expression “I tell myself my life”. -/- Nietzsche was the past philosopher who wrote about our future, “The time is coming when the struggle for the domination of the earth will be waged - it will be waged in the name of basic philosophical doctrines.” KGWB/NF-1881, 11[273]. The world has seen plenty of wars and death, since 1881. The process of the domination of the earth and world is still on-going. -/- What is Nietzsche’s overall project with Ecce homo? -/- Main Leitmotifs in Ecce homo. -/- Christianity as the denial of the will to life, revaluation of all values (Umwerthung aller Werthe), Amor fati, Dionysus as a god and his philosophy (future project for Nietzsche), overthrowing idols, two worlds (“true world" finally became a fable) against Plato eternal world and forms, eternal recurrence or the eternal return of the same (Nietzsche heaviest thought, also his most abysmal thought “abgründlichsten Gedanken”), opposite and counterpart to type of person decadent (décadent), “I count the overcoming of pity among the noble virtues”, against the concept of God (Christian), overman or superman (Übermensch), Will to Power (Wille zur Macht), great politics, immoralist, morality of the Christian church, and Declaration of war (“Kriegserklärung”). -/- Table of Contents -/- Motto [page 3]. Epigraph [pages 4-6]. -/- Preface to the Translation of Ecce homo [pages 7-16] -/- Major Leitmotifs in Nietzsche [pages 17-24]. -/- Translations from Nietzsche’s German to English include. -/- 1). Ecce homo: How One Becomes What One Is (Ecce homo: Wie man wird, was man ist. [pages 25-113]. -/- 2). This poem was included in the first publications of Ecce homo (1908). Glory and Eternity (Ruhm und Ewigkeit). [pages 114-124]. -/- 3). These are all of Nietzsche’s last notebooks (complete) they are numbered 21, 22, 23, and 24. There are a total of 82 notes. Final notes by Nietzsche from the Nachlass (Nachlaß). Sometime in German called the Notizheft. Nietzsche’s notebooks that include some drafts for Ecce homo and other topics he was thinking during his last writings. Dating from October 1888 until early Janurary 1889. [pages 125-191]. -/- 4). Nietzsche’s Letters Regarding Ecce homo. Nietzsche’s letters starting at the end of October 1888 discussing Ecce homo. These are not always the complete letters but include all of the passages of Nietzsche discussing Ecce homo. Complete translation of the last letter Nietzsche wrote. Dated until BVN-1889. #1256. Letter to Jacob Burckhardt in Basel. Turin, about 6 January 1889. [pages 192-223]. -/- Bibliographies [pages 224-254]. -/- Nietzsche’s Philosophy Final Thoughts [pages 255-259]. -/- Enjoy reading Nietzsche's last book. (shrink)

In the 5th century a number of sophists challenged the orthodox understanding of morality and claimed that practicing injustice was the best and most profitable way for an individual to live. Although a number of responses to sophistic immoralism were made, one argument, in fact coming from a pair of sophists, has not received the attention it deserves. According to the argument I call Immortal Repute, self-interested individuals should reject immorality and cultivate virtue instead, for only a virtuous agent (...) can win the sort everlasting reputation that makes a life truly admirable and successful. (shrink)

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