A. W. Eaton

Insofar as erotic art and in particular the female nude makes male dominance and female subordination and objectification sexy, this chapter argues, it eroticizes the traditional gender hierarchy and in this way is a significant part of the complex mechanism that sustains sex inequality. To substantiate this claim, she offers a close analysis, supported by a long list of examples, of the different ways in which artworks belonging to the genre of the female nude can be sexually objectifying. She also lends some much-needed precision to the concept of the male gaze, and addresses two serious objections to her particular feminist approach. Firstly, if visual representations typically trade in tokens, not types, then the question arises how a picture can objectify women _in general_. Secondly, since many consider objectification to be a normal and even healthy part of human sexuality, one might wonder what is wrong with sexual objectification in the first place? This chapter concludes by underlining a significant difference between pornographic works and the traditional female nude: the latter not only eroticizes but also aestheticizes the sexual objectification of women, and does so ‘from on high’, art's venerated status investing the traditional nude's message of female inferiority with special authority, making it an especially effective way of promoting sexual inequality.

Dominic McIver Lopes’s Aesthetic Injustice (OUP, 2024) makes an ambitious and important contribution to discussions of the relationship between aesthetics and justice. After briefly summarizing the distinction between aesthetic injustice and weaponized aesthetics which motivates much of the book, we turn our attention to three issues. First, we put critical pressure on Lopes’s claim of originality by showing that many earlier scholars and artists had already explored the unjust restriction of aesthetic capacities. Second, we argue that Lopes’s cosmopolitanism is a universalizing framework that risks erasing asymmetries between victims and perpetrators and leaves the theory ill-equipped to address oppressive aesthetic cultures. Third, we apply critical scrutiny to Lopes's assumption that aesthetic cultures are “conflict-free zones,” drawing on everyday and artistic practices to argue that conflict is a pervasive and sometimes desirable feature of aesthetic life. This, we argue, casts doubt on cosmopolitanism as the foundation for a theory of aesthetic injustice. We conclude by questioning the desirability of a cosmopolitan theory based on the preservation of the value diversity and social autonomy of aesthetic cultures. Please note that in sections III and IV, we discuss gendered and racialized violence.

This chapter offers a critical overview of recent philosophical literature on erotic art and pornography as well as some suggestions about new directions for inquiry, all with an eye toward ethical issues that arise in these areas. The first section surveys philosophical discussions of the purported distinction between art and pornography. The next section considers new areas of inquiry that arise once we shift focus to the connections and similarities between erotic art and pornography. Once we put the pornography literature and the aesthetics- and- ethics literature into conversation with one another, new areas of inquiry open up, including: the harms and benefits that come from engaging with libidinous representations, applications of speech act theory to libidinous representations, and philosophical and ethical issues pertaining to fiction, imagination, and fantasy. Finally, the chapter concludes with a discussion of sex positivity and social justice issues related to libidinous representations.

This chapter argues that fat oppression has a significant aesthetic dimension, namely that our collective taste in bodies is geared toward aesthetic displeasure at fat. It argues that our collective repulsion and disgust at fat is not a mere effect of fat hatred but, rather, is an important _constitutive element of the oppression of fat people_. The deformation of our collective taste in the direction of aversion to fat bodies, rendering fat repulsive in the eyes of most, is an important part of the debasement, stigmatization, marginalization, and subordination of fat people. This chapter first develops this new model of fat oppression and then explores some Aristotelian strategies for combatting it. These strategies involve promoting and disseminating vivid, imaginatively engaging, and artistically interesting pictures that celebrate, aestheticize, and sometimes eroticize fat bodies.

Titian's Rape of Europa is a work often touted as the greatest Italian Renaissance painting in an American collection. It is also considered one of Titian's finest works and it's not hard to see why. The painting is rightfully praised for its subtle modulations of luminous colors and its wide array of palpably sensual textures. If this were all there were to the painting, then I would say that its univocal acclaim and pride of place in the canon would be entirely justified. But there is a dark side to this virtuosic display of lustrous colors and shiny textures: the painting, I shall argue, eroticizes and celebrates rape and this is a serious ethical defect. Further, I make the case that this defect diminishes the painting aesthetically. The general point defended here, then, is that an artwork can, in certain cases, be worse off qua work of art precisely because of its ethical flaws. ;I argue for this in two stages. The first part of the dissertation examines Titian's painting and makes the case that it has a particular sort of ethical flaw, namely that it eroticizes and celebrates sexual assault. The second part argues for the aesthetic relevance of this flaw. Taking Hume's analogy between artworks and friends as a point of departure, I show how in certain instances agreement with a work's ethical orientation can be a condition for responding to the work in a way required for its artistic success. In those cases in which artistically important features of a work depend upon the audience's having an unethical response, we have good reason not to respond to the work in the way required to fully understand and appreciate it. The work fails to merit a response that is central to achieving its own artistic aims, and this, I argue, is an aesthetic failure

This chapter aims to bridge the gap between antipornography feminism and sex-positive feminism. It argues in favor of feminist pornography by developing some thoughts proposed by Catharine MacKinnon and others. The basic idea is that antiporn feminism’s conviction in the power of representations to shape its users’ erotic tastes—a conviction the author endorses and develops in this chapter—should commit feminists to embracing forms of pornography that serve to shape its audiences’ erotic taste in the direction of gender equality. Some of these new transformative forms of pornography are already being produced under the banner of what is often called “feminist porn.” This vibrant and growing genre embraces works that cater to a wide variety of proclivities and interests, all committed to undermining gender injustice.

In this essay, we aim to provide an overview of the political and philosophical issues pertaining to asexuality. The first section, “What Is Asexuality?,” offers an account of asexuality. The second section, “Asexuality as a Unique Sexual Orientation,” argues that asexuality should be understood as a unique sexual orientation. The third section, “Asexuality and Oppression,” discusses the various forms of oppression facing asexual persons today. The fourth section, “The Goods of Asexuality,” articulates some goods that asexuality brings to human lives, and we do this with an eye toward conceiving of asexuality as something other than a mere deficit.

How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function of erotic images in 16 th -century Italy. This exploration suggests that the root of the erotic art/pornography distinction was—at least in this context—class: in particular, the need for a special category of unsanctioned illicit images arose at the very time when print culture was beginning to threaten elite privilege. What made an erotic representation exceed the boundaries of acceptability, I suggest, was not its extreme libidinosity but, rather, its widespread availability and, thereby, its threat to one of the mechanisms of sustaining class privilege.

How do artifacts get their functions? It is typically thought that an artifact’s function depends on its maker’s intentions. This chapter argues that this common understanding is fatally flawed. Nor can artifact function be understood in terms of current uses or capacities. Instead, it proposes that we understand artifact function on the etiological model that Ruth Millikan and others have proposed for the biological realm. This model offers a robustly normative conception of function, but it does so naturalistically by employing our best scientific theories, in particular natural selection. To help make this case, it proposes “living artifacts” (organisms designed for human purposes through artificial selection) as a bridge between the artifactual and the biological realms.

Pedro Almodóvar is one of the most renowned film directors of recent years. Talk to Her is one of the most discussed and controversial of all his films. Dealing principally with the issue of rape, it also offers profound insights into the nature of love and friendship whilst raising important philosophical and moral questions in unsettling and often paradoxical ways. This is the first book to explore and address the philosophical aspects of Almodóvar’s film. Opening with a helpful introduction by Noël Carroll that places the film in context, specially commissioned chapters examine the following topics: The relationship between art and morality and the problem of 'immoralism' Moral injury and its role in the way we form moral judgments, including the ethics of love and friendship The nature of dialogue, sexual objectification and what 'listening to' means in the context of gender Almodóvar's use of allusion and the unmasking of appearances to explore hidden themes in human nature. Including a biography of Almodóvar, Talk to Her is essential reading for students interested in philosophy and film as well as ethics and gender. It is also provides an accessible and informative insight into philosophy for those in related disciplines such as film studies, literature and religion. Contributors: Noël Carroll, A. W. Eaton, Cynthia Freeland, Robert B. Pippin, C.D.C. Reeve, and George M. Wilson

This article addresses two puzzles, one about the nature of satire and its kinship with moral philosophy and the other about the possibility of practicing philosophy through works of art. While it has long been noted that moral satire and applied ethics share subject matter in common, there has been little attention to the prominence of argument by analogy in satire. This essay shows that satire has a kinship with moral philosophy close enough that it is possible to practice philosophy through satire and thus possible to practice philosophy through works of narrative fiction.