Stephen Hicks

Catharine MacKinnon on censoring porn [Philosophers, Explained series]

In making her influential case for limiting the First Amendment and censoring porn, Catharine MacKinnon uses a combination of egalitarian and postmodern arguments. Here is my guided tour of her Only Words (Harvard U.P.) One can also follow Professor Hicks on X (@SRCHicks). Related: The full series of Philosophers, Explained episodes:

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Studio audience invitation for new Peterson Academy course: *Modern Ethics*

I will be at the Academy’s impressive studio in Miami to record a new eight-lecture course on the philosophy of ethics. Here is the invitation to join the live studio audience. We will cover thinkers who made ethics modern (and highly diverse) — and those who resisted the modernizing trends — including John Locke, Jean-Jacques

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Kant versus racial interbreeding

According to Ernst Cassirer, Immanuel Kant was “the man who introduced anthropology as a branch of study in German universities.”[1] And anthropologist W. E. Mühlmann calls Kant “the founder of the modern concept of race.”[2] All humans are members of the same species, Kant argues, since members of the different races are capable of interbreeding.

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Nietzsche, according to Nazi ideologist Ernst Krieck

National Socialist ideologue Ernst Krieck had little patience for the claim that Friedrich Nietzsche’s philosophy was a forerunner of National Socialist politics. Frequently Nietzsche came up positively in Nazi speeches and writings. But Krieck scoffed: “All in all, Nietzsche was an opponent of socialism, an opponent of nationalism, and an opponent of racial thinking. Apart

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Kant and modern art: quotations from artists and art critics

The poet John Enright‘s “Kant and Abstract Art” takes up Ayn Rand‘s claim (in The Romantic Manifesto) that “the father of modern art is Immanuel Kant (see his Critique of Judgment).” Rand does not elaborate, and Enright notes that some scoff at the claim. Rand’s claim is a strong one, in part because it makes

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Were the Modernist painters especially misogynist?

Some initial evidence for your consideration: paintings from Picasso, Duchamp, Dali, and de Kooning. At a TRAC conference in Ventura, California, I heard an intriguing talk by Kay Kane, professor of drawing at Queensland College of Art, Griffith University, Australia. Kane’s talk was based partly on (and partly diverged from) Wendy Steiner’s Venus in Exile

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