Sexuality

Minorities and Philosophy (MAP) Seeking Organizers

Published by Anonymous (not verified) on Mon, 21/05/2018 - 4:42pm in

Minorities and Philosophy (MAP), a 104-chapter network of philosophy graduate students “that aims to examine and address issues of minority participation in academic philosophy,” is seeking to hire two international organizers.

Here’s the job description:

The role of International Organizers is largely to facilitate the success of MAP chapters and oversee the development of the larger organization. Thus, responsibilities include: conferencing regularly with other Organizers, making decisions on the growth of MAP regions and projects, coordinating with outside organizations (like the APA or funders), responding to chapter funding requests, updating the website and social media pages, collating lists of chapter activities, publishing newsletters and reports, touching base with chapter organizers, and more. In addition, MAP has recently started to initiate collaboration with National High School Ethics Bowl. Organizers receive a modest honorarium for their work. 

Criteria and application instructions are here. The application deadline is June 15, 2018.

The post Minorities and Philosophy (MAP) Seeking Organizers appeared first on Daily Nous.

Who Are Philosophers Less Willing To Hire?

Published by Anonymous (not verified) on Wed, 11/04/2018 - 1:35am in

George Yancey, a professor of sociology at the University of North Texas who works on anti-Christian attitudes in the United States, has researched bias in academia, and recently shared some information he had collected regarding philosophers’ hiring preferences.

He writes:

I did this quick breakdown of some of the different groups and the willingness of academic philosophers to hire them. Note that their unwillingness to hire them may be slight or may be strong. This is only the percentage that have an unwillingness to hire someone because they are a member of this group. I do not have the time right now to do a breakdown by being slightly, moderately or strongly more unwilling to hire from that group but do not want to overestimate the degree of rejection either.

 

 

The data was collected as research for his 2011 book, Compromising Scholarship: Religious and Political Bias in American Higher Education.

What follows are the names of the groups Yancey asked about followed by the percentage of the 159 philosophers he surveyed indicating either a slight or strong unwillingness to hire members of that group:

Yancy adds:

I think philosophy does better than most humanities and social sciences but not as well as the natural sciences with it comes to accepting deviate social groups. As a sociologist I have no dog in that fight and am just telling it like I see it.

Discussion welcome. Please be respectful of each other and mindful of stereotypes.

The post Who Are Philosophers Less Willing To Hire? appeared first on Daily Nous.

Tharg’s Tribute to Kevin O’Neill: When the Comics Code Banned His Art

Published by Anonymous (not verified) on Sat, 30/12/2017 - 10:03pm in

Yesterday in one of the posts I mentioned the dictatorial grip the Comics Code Authority had over American comics from the 1950s to the mid-1980s. The Code was sent up to reassure and protect the American public after the moral panic over Horror comics in the 1950s. This spread to comics as a whole, which were seen as subversive, morally corrupting and un-American. This included bizarre accusations of Fascism and deviant sexuality aimed at those stalwarts of popular American culture, Superman, Batman and Wonder Woman. The scare decimated the American comics industry, and nearly caused its total collapse.

The Code was set up to ensure that all comics were suitable for a child of seven to read. Its officials were unelected, and in many cases had right-wing views that showed absolutely no understanding of popular politics or culture. It was supposed to be a voluntary organisation, and there were comics creators who worked outside and often against the code. Like Robert Crumb and the underground scene, or the independents Like Dave Sim and Cerebus the Aardvark. In practice, however, those comics were well outside the mainstream, and were only available in head shops and specialist comics stores like Forbidden Planet and the late, lamented Forever People in Bristol.

I discussed how the Code rejected one issue of the Green Lantern Corps, written by Alan Moore and drawn by Kevin O’Neill, on the grounds that O’Neill’s artwork was too grotesque and disturbing for children. This was ironic, as he had been delighting children and adults with his monstrous aliens, mutants, robots and equally grotesque humans for years in the pages of 2000 AD. He was and remains one of comicdom’s favourite artists, and while the other artists who worked on the Nemesis the Warlock strip added the considerable talents to the tale of the Warlock and his foe, the human ‘Ultimate Fascist’ Grand Master Torquemada, I think much of the strip’s initial popularity came from his superb, bizarre artwork.

2000 AD duly paid tribute to him and his censorship by the Comics Code in their anniversary issue, Prog 500, published on 14 December 1986. In it, Tharg took a walk through the contents of his mind, reviewing the comic’s history and revisiting some of the characters that didn’t work. At the end he comes to Kevin O’Neill, who appears as a stunted, crazed sadist. O’Neill admonishes him for censoring the most extreme piece of violence in the strip. Tharg tries to reassure him by reminding him that he won the ‘ultimate accolade’ for which other comics creators all envy him: the day the Comics Code banned his art as totally unsuitable for children. To which O’Neill replies ‘Hmmph. You won’t get around me by flattery’. Unsatisfied, O’Neill then calls down Torquemade, who promptly beats Tharg up.

The different sections of that strip were written and drawn by the different artists and writers, who worked on the comic, so there were different credit cards for them for each section. That section ends with the credits reading ‘Script Therapy: Pat Mills. Art Therapy: Kev O’Neill. Letters: Steve Potter’. Which suggests that the letterer was the only sane one there.

Here’s a few panels.

The real O’Neill is, however, quite different from his portrayal in the strip. It’s been pointed out several times that the fans, who’ve met him, are often surprised that he doesn’t dress in black and silver like the Terminators. And the other rumours about him are also totally untrue. Like he only works at night using a quill pen in the light of candles, and has an occult temple in his basement. I met him at UKCAC 90 in Reading, where I queued with Mike to have him draw a character on the blank badges we’d been given for our fave artists to draw on. O’Neill at the time was a wearing a ‘Solidarity for Nicaragua’ T-shirt, which a left-wing friend of mine at college also wore. He also was wearing a brown leather jacket, and his facial features at the time reminded me a bit of John Hurt. He was affable, enthusiastic, full of nervous energy and completely unthreatening. If you seem him now at comic conventions or footage of them on YouTube, or the occasional interview for television, he’s obviously older and balder, as effects so many of us eventually. He comes across as genial and entertaining British gent, completely unlike the berserk monstrosities that rampage across his strips down the years. Even when he’s telling the stories about how he and Pat Mills went as far as they could in savaging American superhero comics and right-wing, superpatriotic American politics in the violent and nihilistic Marshal Law. Actors, writers and artists aren’t their creations. Fortunately.

Andy Warhol's Girls

Published by Anonymous (not verified) on Tue, 07/06/2016 - 11:57pm in

Tags 

gender, Sexuality

Eleri Watson explores Andy Warhol's relationships with women. Eleri Watson gives a short talk at the Ashmolean Museum's Live Friday: Framed!, on her research into Andy Warhol's relationships with women.
Eleri is a DPhil candidate in English Literature at the University of Oxford, writing on ‘Fag Hags, Breeders and Idols' . This project revisits Eve Sedgwick's question of 'what a fag hag means', looking at the representation of the fag hag in twentieth-century homosexual literature and broader popular culture.