Within the Judeo-Christian tradition, Sodom and Gomorrah represent locales in which threats to national formation are couched in sexual terms. The biblical narrative insists on a particular social invisibility for those sexual activities not blessed by the bonds of matrimony. Reclaiming Sodom surveys a number of institutions that have had an interest in perpetuating these views: the police, the state, the church and the law. The collection ranges through biblical scholarship, an investigation of the Founding Fathers' beliefs, the (...) legal mobilization towards the category of sodomy in 18th and 19th century England, and the US Supreme Court's 1986 Bowers vs. Hardwick decision. Analysis is provided of the ways in which the Judeo-Christian tradition has shaped anthropological accounts of the same-sex practices of non-Western people, as well as essays on how colonial gestures have marked lesbian identity in the Carribean, and derformed narratives about the racial geography of AIDS. Reclaiming Sodom explores alternatives to the force of the Sodomitic biblical narrative in Islamic, non-western, and western traditions, and discusses the ways in which sodomy calls into question normative definitions of sexuality and gender. The collection pursues the "pleasures and dangers" of these alternatives, and takes on Proust's refusal to imagine a social movement founded on the "stigma" of Sodom. The collection examines the relations between sex/gender identities and sexual acts in important and provocative ways, and argues for the political use and usefulness of both Sodom and sodomy. Reclaiming Sodom makes an important and controversial contribution to the literature on sexuality and gender, as well as the nature of sex in our culture. Contributors: Dorothy Allison, Robert Alter, Neil Bartlett, Leo Bersani, Gerald Creed, Marc Daniel, Lee Edelman, Janet E. Halley, Jonathan Ned Katz, Pierre Klossowski, Rocky O'Donovan, Guy Hocquenghem, Cindy Patton, Marquis de Sade, David Shannon, Makeda Silver, Jonathan Goldberg. (shrink)

The Roman Sodom -- City of destruction -- The end of the world -- Laws -- Histories -- Lust and morality in the (long) eighteenth century -- The discovery of Sodom, 1851.

Peer review has long been regarded as the gold standard of scientific publication, essential to the integrity of science itself. But, as any publishing scientist knows, peer review has its downside, including long delays and reviewer bias. Until the coming of the Internet, there appeared to be no alternative. Now, articles appear online as preprints almost immediately upon submission. But they lack peer review and thus their scientific standing can be questioned. Post-publication discussion platforms such as PubPeer have proven useful, (...) but are no substitute for pre-publication peer review. Nevertheless, some may be tempted to believe that peer review can now be done without. This article challenges that view by analyzing a recent, non-peer-reviewed article in Skeptical Enquirer, a magazine published by the Committee for Skeptical Enquiry (CSI). The article, “Sodom Meteor Strike Claims Should Be Taken With a Pillar of Salt,” casts doubt on one of the most widely read scientific articles of the last decade and provides a stern warning of the cost of abandoning peer review. (shrink)

In this essay I begin with Aristotle’s perplexing observation that a tragic drama is a “whole,” one identified by a clear beginning, middle and ending. I pause to wonder how Aristotle imagines such ends, given his contention that a play concludes in such a way that “nothing can follow from it.” On the face of it, it is very difficult to imagine what Aristotle has in mind here. I suggest that one clue may be found in his title, Poetics, with (...) its clear suggestion that a dramatic event is in fact a making, a poiesis. I develop this idea to suggest that the end of a story, any story, tends to be something the reader imposes, often in the interest of generating a specific moral. I then display these readerly dynamics by providing a close reading of the famous story from Genesis, concerning the cities of Sodom and Gomorrah. I explore a number of different ways in which this story may be thought to “end,” as well as the implications of each such ending. (shrink)

The Marquis de Sade is famous for his forbidden novels like _Justine, Juliette_, and the _120 Days of Sodom_. Yet, despite Sade's immense influence on philosophy and literature, his work remains relatively unknown. His novels are too long, repetitive, and violent. At last in _The Philosophy of the Marquis de Sade_, a distinguished philosopher provides a theoretical reading of Sade. Airaksinen examines Sade's claim that in order to be happy and free we must do evil things. He discusses the motivations (...) of the typical Sadean hero, who leads a life filled with perverted and extreme pleasures, such as stealing, murder, rape, and blasphemy. Secondary sources on Sade, such as Hobbes, Erasmusm, and Brillat-Savarin are analyzed, and modern studies are evaluated. _The Philosophy of the Marquis de Sade_ greatly enhances our understanding of Sade and his philosophy of pain and perversion. (shrink)

Irigaray's early work seeks to multiply possibilities for women's self-expression by recovering a sexual difference in which male and female are neither the same nor opposites, but irreducibly different modes of embodiment. In her more recent work, however, Irigaray has emphasized the duality of the sexes at the expense of multiplicity, enshrining the heterosexual couple as the model of sexual ethics. Alison Stone's recent revision of Irigaray supplements her account of sexual duality with a theory of bodily multiplicity derived from (...) Butler, Nietzsche, and certain German Romantics; but to the extent that Stone maintains the primacy of sexual duality, her revision fails to address the claims of multiplicity on their own terms. In this paper, I interpret a passage from Marcel Proust's novel, Sodom and Gomorrah, in order to develop an alternative theory of sexual difference in which sexual duality is affirmed in relation to a third, unsexed but sexual force which multiplies the possibilities for sexual pleasure beyond heterosexual coupling. Proust's emphasis on sexed ``parts'' rather than sexed morphologies is generative of maximally diverse combinations, all of which are equally natural and equally enhanced through artifice. (shrink)

This article attempts to think historically about the relationship between nationalism and same-sex sexuality in Proust's novel and in readers’ responses to the novel from the time of its publication to the present. The article uses a column written on the first part of Sodome et Gomorrhe by nationalist literary critic and author Binet-Valmer in 1921 in order to illuminate some of the sexual and political contexts of Proust's representation of same-sex sexuality. It then turns to two twenty-first-century uses of (...) Proust by right-wing thinkers to theorize a particularly French, anti-communitarian, anti-politically correct form of homosexuality. Ultimately, these examples demonstrate that there is no one relationship between same-sex sexuality and nationalism or the national community; rather, same-sex sexuality often serves as a convenient tool for defining the national community and its outsiders, in a wide variety of ways that move beyond a simple equivalency between outlaw and gay. (shrink)

It is hardly necessary to rent I Spit on Your Grave or Tool Box Murders for your VCR in order to find images of sexuality contaminated by depersonalization or violence. As far back as Rabelais’ Gargantua, for example, Panurge proposes to build a wall around Paris out of the pleasure-twats of women [which] are much cheaper than stones”: “the largest … in front” would be followed by “the medium-sized, and last of all, the least and smallest,” all interlaced with “many (...) horney joy-dinguses” so that fortification would be impregnable, except for the “ordure and excretions” of the flies it would doubtlessly attract.1 Two centuries later, one of Rabelais’ compatriots, the Marquis de Lade, described the rage of a sexually initiated daughter against a woman who refuses to consider her “pleasure-twat” “cheaper than stones.” The Sadeian heroine first sodomizes her puritanical mother with an artificial penis, then has her infected with syphilis, and finally performs infibulations to prevent the infected semen from leaking out: “Quickly, quickly, fetch me needle and threat! … Spread your thighs, Mama, so I can stitch you together.”2One century later in England, the author of My Secret Life explained that, when in a state of sexual excitement, “he is ready to fuck anything,” from his sister to his grandmother, from a ten-year-old, to a woman of sixty, for a standing prick has no conscience.” To this credo, he adds the admonition, “Woe be to the female whom he gets a chance at, if she does not want him, for he will have her if he can.”3 The sexually aroused man in the contemporary American film Looking for Mr. Goodbar curses the woman who does not want him as much as she wants a room of her own and the freedom to choose a succession of male lovers. After he resentfully determines to have her when he gets the chance , he rapes her and finally knifes her to death, exclaiming “That’s what you want, bitch, right? That’s what you want.”However these individual works are labeled, such passages remind us of the long history of pornography, a gender-specific genre produced primarily by and for men but focused obsessively on the female figure. In their depictions of female sexuality, narratives from Gargantua to La Philosophie dans le boudoir, My Secret Life, and Looking for Mr. Goodbar explain why definitions of the pornographic have recently moved away from “obscenity,” a term that generally refers to the sexually stimulating effects of a picture, a novel, or a film on the male reader/observer, and toward “dehumanization,” a word that is used to evoke the objectification of women. As Irene Diamond has demonstrated, during the past decade the generally held assumption that pornography is about male sexuality has been qualified by those who argue that “the ‘what’ of pornography is not sex but power and violence, and the ‘who’ of concern are no longer male consumers and artists but women.”4 1. François Rabelais, Gargantua and Pantagruel, trans. Jacques Le Clercq , bk. 2, chap. 15. I have used this translation because it is employed in Helene Iswolsky’s translation of Mikhail Bakhtin’s Rabelais and His World . With no analysis of gender, Bakhtin’s exclusive focus on the grotesque wipes out the significance of Rabelais’ sexual imagery.2. Marquis de Sade, quoted in a brilliant reading of this text by Angela Carter, The Sadeian Woman and the Ideology of Pornography , p. 127; all further references to this work , abbreviated SW, will be included in the text.3. My Secret Life , p. 361.4. Irene Diamond, “Pornography and Repression: A Reconsideration,” in Women: Sex and Sexuality, ed. Catharine Stimpson and Ethel Spector Person , p. 132. Susan Gubar is professor of English and women’s studies at Indiana University, Bloomington. Together with Sandra M. Gilbert, she has coauthored The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination and co-edited both Shakespeare’s Sisters: Feminist Essays on Women Poets and the Norton Anthology of Literature by Women: The Tradition in English. This fall they will publish the first volume of a three-volume work, No Man’s Land: The Place of the Woman Writer in the Twentieth Century. Her previous contribution to Critical Inquiry is “ ‘The Blank Page’ and the Issues of Female Creativity”. (shrink)

This essay explores the relationship between mourning and writing by tracing the various uses and connotations of the term ‘intermittence’ in the writings of Marcel Proust and Roland Barthes, with particular reference to the middle volume of A la recherche du temps perdu, Sodome et Gomorrhe, and to Barthes's posthumously published Journal de deuil. Against the backdrop of the Proustian ‘Intermittences of the Heart’, I demonstrate that intermittence is a useful interpretive framework for Barthes's Journal de deuil in terms of (...) the sporadic rhythm of the author's experience of grief, and suggest that this rhythm is audible in and performed by the Journal's fragmented, discontinuous form. Finally, intermittence in its etymological meaning of ‘sending between’ is brought to bear on broader, fundamental questions concerning the purpose of mournful writing, including to whom it is addressed and of what it speaks. (shrink)

Among the central meanings in Büchner's Woyzeck, there is one that comes clear only when we read the play in the context of the history of ideas—specifically in the light of certain currents of thought about human history and eschatology. Aspects of the play's expression are thereby elucidated, that are forcefully brought forward through the organization and compositional procedures of Berg's Wozzeck. Near the end of the long third scene of the opera, Wozzeck appears suddenly at Marie's window and alludes (...) cryptically to the mysterious signs that had come to him in the field the scene before, confiding to her that he is "on the track of something big." As those signs had first been presented through Wozzeck's eyes, they seemed like the imaginings and fears of a simple man about Freemasons and who knows what other objects of superstition, But now in the third scene he gives them a scriptural context, as though through a sudden insight: "Isn't it written, 'And behold, the smoke went up from the land, as the smoke from a furnace'?" What Wozzeck has recalled here is a passage in the Book of Genesis, chapter 19: "Then the Lord rained upon Sodom brimstone and fire from the Lord out of heaven. . . . and, behold, the smoke went up from the Land as the smoke from a furnace." The image is repeated in the New Testament Book of Revelation , chapter 9: "And the fifth angel sounded, and I saw a star fall from heaven unto the earth; and to him was given the key of the bottomless pit; and there arose a smoke out of the pit as the smoke of the great furnace; and the sun and the air were darkened by reason of the smoke of the pit." Both passages are about a holocaust visited by a wrathful God upon a corrupt and debauched people, and that is the idea that begins to form in Wozzeck's mind as he stands for the first time on the stage before his mistress. And he asks, "What will it all come to?" The answer to this thematic question lies in the strange unfolding of the drama, pressed forward by forces that lie, as Büchner had once put it, "Outside of ourselves"1 and by Wozzeck, who guarantees the outcome as he imagines himself becoming aware of what it must be. · 1. Letter to his family, February 1834: "I scorn no one, least of all because of his understanding or his education, for it lies in no one's power not to become a dumbbell or a criminal—because we have all become alike through like circumstances, and because the circumstances lie outside of ourselves . . ." Werner Lehmann, George Büchner: Sämtliche Werke und Briefe , 2:422. Leo Treitler, professor and chairman of the department of music at the State University of New York at Stony Brook, is the author of, among other works, "Dufay the Progressive" and "Homer and Gregory: The Transmission of Epic Poetry and Plainchant.". (shrink)

Claudius Marius Victor , a rhetor of Marseilles , composed in the first half of the fifth century a metrical paraphrase of Genesis from the creation of the world up to the destruction of Sodom. The work, which amounts to something over 2,000 lines and is supposedly unfinished, is entitled Alethia, seasoned with occasional discussion of philosophic or other matter, and written with the expressed hope of improving the minds of the young. The text depends on a single ninth-century (...) Paris manuscript , which contains errors that are numerous but in general rudimentary and susceptible of convincing emendation. The first serious edition—for the edition of J. de Gagny , though it offered many useful emendations, was too full of licentious alterations, excisions, and additions, to rank as such—was that of G. Morel . The next editor, G. Fabricius , in spite of his awareness of Morel's edition, did little more than reproduce the depraved text of Gagny. (shrink)

The essay examines the relation between the explicit aesthetic ideology of Proust’s Recherche and the structure of the “involuntary memory” that is supposed to serve as that ideology’s empirical basis. I challenge the apparent solipsism and idealism of the narrator’s aesthetics by focusing on the one experience of involuntary memory that he omits from his final reflections, in Time Regained, on the relation between memory and art: this is the involuntary memory, in the earlier volume Sodom and Gomorrah, of (...) his dead grandmother, a memory that he describes there as an experience of true otherness. Through a close reading of this passage, I argue that Proust’s interest in involuntary memory implies a concept of literary art as above all ethical in nature, in so far as it is the only means by which individuals can emerge from the solitude to which they are otherwise existentially condemned. In both the Sodom and Gomorrah passage and a later passage from Time Regained this emergence is cast in terms of a rhetoric of multiplicity that emphasizes both the disturbing and the productive dimensions connecting literature with life. (shrink)

While democracy is usually perceived as a Greco-European development, it is note-worthy that some of its roots can be found in the Bible. The Covenant between God and the tribes of Israel at Mount Sinai is based on the people’s consent. God is seen as the King of Israel: theocracy means the rule of God literally, and not the rule of priests. The earthly kings are the people’s brethren and must submit to the divine law. Freedom of speech is practised (...) by Abraham when he argues with the Almighty about His resolve to destroy Sodom and Gomorrah. Such freedom became part and parcel of the Israelite tradition, exemplified by the prophets and in subsequent ages. Indeed, the vitality of democracy in the modern state of Israel may be largely due to its biblical antecedents. (shrink)

Logical and Spiritual Reflections is a collection of six shorter philosophical works, including: Hume’s Problems with Induction; A Short Critique of Kant’s Unreason; In Defense of Aristotle’s Laws of Thought; More Meditations; Zen Judaism; No to Sodom. Of these works, the first set of three constitutes the Logical Reflections, and the second set constitutes the Spiritual Reflections. Hume’s Problems with Induction, which is intended to describe and refute some of the main doubts and objections David Hume raised with regard (...) to inductive reasoning. It replaces the so-called problem of induction with a principle of induction. David Hume’s notorious skepticism was based on errors of observation and reasoning, with regard to induction, causation, necessity, the self and freewill. These are here pointed out and critically analyzed in detail – and more accurate and logical theories are proposed. The present work also includes refutations of Hempel’s and Goodman’s alleged paradoxes of induction. A Short Critique of Kant’s Unreason, which is a brief critical analysis of some of the salient epistemological and ontological ideas and theses in Immanuel Kant’s famous Critique of Pure Reason. It shows that Kant was in no position to criticize reason, because he neither sufficiently understood its workings nor had the logical tools needed for the task. Kant’s transcendental reality, his analytic-synthetic dichotomy, his views on experience and concept formation, and on the forms of sensibility (space and time) and understanding (his twelve categories), are here all subjected to rigorous logical evaluation and found deeply flawed – and more coherent theories are proposed in their stead. In Defense of Aristotle’s Laws of Thought, which addresses, from a phenomenological standpoint, numerous modern and Buddhist objections and misconceptions regarding the basic principles of Aristotelian logic. Many people seem to be attacking Aristotle’s Laws of Thought nowadays, some coming from the West and some from the East. It is important to review and refute such ideas as they arise. More Meditations, which is a sequel to the author’s earlier work, Meditations. It proposes additional practical methods and theoretical insights relating to meditation and Buddhism. It also discusses certain often glossed over issues relating to Buddhism – notably, historicity, idolatry, messianism, importation to the West. Zen Judaism, which is a frank reflection on the tensions between reason and faith in today’s context of knowledge, and on the need to inject Zen-like meditation into Judaism. This work also treats some issues in ethics and theodicy. No to Sodom, which is an essay against homosexuality, using biological, psychological, spiritual, ethical and political arguments. (shrink)

What is the redemptive power of art? More fundamentally, what are the assumptions which make it seem natural to think of art as having such powers? In attempting to answer these questions, I will first be turning to Proust, who embodies perhaps more clearly—in a sense, even more crudely—than any other major artist a certain tendency to think of cultural symbolizations in general as essentially reparative. This tendency, which had already been sanctified as a more or less explicit dogma of (...) modern high culture by Proust’s time, persists, I believe, in our own time as the enabling morality of a humanistic criticism. I will argue that the notion of art as salvaging somehow damaged experience has, furthermore, been served by psychoanalysis—more specifically, by a certain view of sublimation first proposed rather disconnectedly by Sigmund Freud and later developed more coherently and forcefully by Melanie Klein. The psychoanalytic theory I refer to makes normative—both for an individual and for a culture—the mortuary aesthetic of A la recherché du temps perdu.As everyone knows, involuntary memories play a crucial role in the Proustian narrator’s discovery of his vocation as a writer. Let’s begin with a somewhat untypical example of the genre, the passage in Sodome et Gomorrhe describing the “resurrection” of Marcel’s grandmother on the first evening of his second visit to Balbec. This passage reformulates the importance of memory for art in terms of another relation about which the theoretical passages that conclude Le Temps retrouvé will be at once prolific and evasive: the dependence of art on death. Leo Bersani is professor of French at the University of California, Berkeley. The Forms of Violence/Narrative in Ancient Assyria and Modern Culture, written in collaboration with Ulysse Dutoit, is his most recent publication. Professor’s The Freudian Body/Psychoanalysis and Art will be published this winter. (shrink)

The pornography debate occupies a prominent site of apparent contradiction in contemporary culture: a site where the interests of cultural feminism merge with those of the far Right, where an underground enterprise becomes a major growth industry, and where forms of speculation turn alarmingly practical. Another more problematic confluence occurs as a result of this debate. That is, by juxtaposing the 1986 Final Report of the Attorney General’s Commission on Pornography and the Marquis de Sade’s 120 Days of Sodom, (...) we will see how pornography and the public discourse on pornography share the same comparative logic. An examination of such a logic shows how the pleasures of comparison—its gestures toward control, limit, and transcendence—are always balanced by its failures, even tragedies: the realization of the situated nature of all measurement, juxtaposition, subordination, and hierarchization. Thus this essay is designed to both discuss and illustrate a series of issues implicit in pornography’s predicament: the impossibility of describing desire without generating desire; the impossibility of separating form and content within the process of sublimation; and, most important, the impossibility of constructing a metadiscourse on pornography once we recognize the interested nature of all discursive practices. We cannot transcend the pornography debate, for we are in it. But by writing through it, by examining its assumptions, we can learn a great deal about the problems of representing desire and the concomitant problems of a cultural desire for unmediated forms of representation. Susan Stewart, whose most recent contribution to Critical Inquiry was “Shouts on the Street: Bakhtin’s Anti-linguistics” , is the author of two books of literary theory, Nonsense: Aspects of Intertextuality in Folklore and Literature and On Longing: Narrative of the Miniature, the Gigantic, the Souvenir, the Collection , and two books of poetry, Yellow Stars and Ice and The Hive . She is finishing a book on “crimes of writing,” of which this essay is a part, and a study of the five senses. (shrink)

This is a welcome book, for it challenges intelligently the conventional view that Proust's novel is strictly a narrative of metaphor and memory. Nicola Luckhurst's project here is to demonstrate that, with its profoundly legislative impulses and knowledge‐seeking, theory‐laden tone, A la recherche du temps perdu is as much about hypothesis, experiment, and scientific law making as about nostalgia and reminiscence.The entry point for Luckhurst's discussion is a perceptive chapter on Proust's maxims, those abundant sententiae that on the one hand (...) link him to the moralistic tradition of La Bruyère and La Rochefoucauld and on the other demonstrate his need to generate laws that explain behavior and experience. She offers chapters on the novelist's use of hypothesis, modeling, and retroduction; the last notion is especially revelatory in a Proustian context. Borrowing from Aristotle, the philosopher Charles Sanders Pierce coined the term “retroduction” to describe a type of inference that contains within itself the nascent theory, the hypothesis, and the data being examined. Later Norwood Hanson spoke of the simultaneous “dawning of an aspect and a dawning of an explanation [that] both suggest what to look for next” . Applied to A la recherche, retroduction aptly describes the main structure of cognition in Proust: intuitions about a singulative event and hypotheses about that event's relationship to a broader law or theory are always co‐present, with Proust's narrator representing both the datum being examined and the voice speculating on the resulting science.Chapters 5, 6, and 7 focus in large part on the narrative's fascination with male and female homosexuality and assess the models and theories applied to each. The botanical analogy for male homosexuality has of course been widely discussed. But with the help of Antoine Compagnon's notes to Sodome et Gomorrhe , Luckhurst provides a convincing account of the impact made on Proust by the reading of Darwin, Maurice Maeterlinck's L'intelligence des fleurs, various essays by Jules Michelet, the zoologist/embryologist Elie Metchnikoff's Etudes sur la nature humaine: Essai de philosophie optimiste, and Remy de Gourmont's Physique de l'amour. However, as she notes, lesbianism in Proust's novel is an epistemological dead end. No model can account for it, and Proust's narrative, in Albertine disparue, becomes bogged down and “embalmed.” Here, Luckhurst's own narrative loses momentum because of the space it devotes to this nonsignificance.But the central, and persuasive, argument of this study concerns the converging attempts within the scientific and literary communities of the early twentieth century to narrate and conceptualize creativity. The tendency in literature toward what David S. Luft has called “essayism”—so clear cut in Proust—affected a generation of writers convinced that theory and story must converge, that “the tasks of philosophy, literature and cultural criticism” had come together . In parallel, within the scientific community, intuition, analogy, and a kind of aesthetic sense were becoming acknowledged methodological tools, especially in the work of the French mathematician Henri Poincaré, whose speculations on the role of the unconscious in cognition closely parallel those of Proust . Luckhurst's study demonstrates above all that underlying Proust's adamant distinctions between the particular and the general, between the intuitive/instinctive and the intellectual, is a deep esteem for science and an attraction to its laws. Metaphor itself, the Proustian cognitive device par excellence, must in his own words be exact enough to create a relationship “analogous in the artistic world to the unique relationship of the law of causality in the scientific world.” It is the empowerment offered Proust by scientific truth that this study brings so nicely into focus. (shrink)

When the Neo- or "New Atheist" publishing frenzy climaxed with Richard Dawkins' The God Delusion, Daniel C. Dennett's Breaking the Spell, Sam Harris's The End of Faith, Christopher Hitchens' god is not Great and subsequent titles; New Atheists repeatedly denounced the Bible as dangerously false, suppressive to scientific inquiry, and as inculcating and promoting problematic, contemptible, even abhorrent moral values. The Genesis 1-11 and 19 Creation, Noah, and Lot narratives persist among the New Atheists' favorite targets. Heretofore there has been (...) no systematic examination of New Atheist treatments of Genesis generally or Genesis 1-11 and 19 particularly. This article scrutinizes leading New Atheist interpretations of Genesis 1-11 and 19 articulated by Richard Dawkins, Daniel C. Dennett, Sam Harris, and Christopher Hitchens. Part one documents these New Atheist renderings of Genesis 1-11 and 19 through the entire corpus of their published books. Part two synthesizes, applies, and extends relevant Genesis 1-11 and 19 scholarship to appraise and respond to the most serious New Atheist allegations, concluding that a more rigorous analysis of Genesis 1-11 and 19 nullifies and potentially reverses New Atheist criticisms. (shrink)

Abstract: This essay explores recent trends and major issues related to gay and lesbian philosophy in ethics (including issues concerning the morality of homosexuality, the natural function of sex, and outing and coming out); religion (covering past and present debates about the status of homosexuality and how biblical and qur'anic passages have been interpreted by both sides of the debate); the law (especially a discussion of the debates surrounding sodomy laws, same-sex marriage and its impact on transsexuals, and whether the (...) law should be used to enforce morality); scientific research into the origins of homosexuality (including discussion of arguments against such research); and metaphysics (especially the question of whether homosexuality is socially constructed during particular times and in particular cultures, or whether sexual orientation is an essential trait cutting across times and cultures). (shrink)