Feminist Aesthetics

Purpose: Contemporary adult readers' advisory aims to adhere to (what I term) a pure preference satisfaction model in which librarians provide nonjudgmental book recommendations that satisfy their patrons' aesthetic tastes rather than improve upon them. The purpose of this paper is to determine whether readers' advisors really ought to treat all such tastes as essentially benign, even when doing so may conflict with core commitments to diversity and social responsibility. Design/methodology/approach: This paper utilizes a thought experiment to interrogate our intuitions (...) regarding the practice of recommending recreational materials featuring marginalized protagonists. The author also draws on theoretical insights from feminist aesthetician A.W. Eaton's innovative work on taste in bodies to formulate argumentation addressing the ethical dilemma presented here. Findings: Our reading tastes can, in fact, be oppressive, working to maintain unjust power relations that are often thought to be the product merely of bad beliefs. On the view advanced here, oppressive tastes function as real obstacles to collective self-governance because they systematically distort our judgments of the credibility, empathic accessibility, and fundamental worth of our fellow democratic citizens. Librarians' obligation to protect and promote democracy, therefore, provides practitioners with a crucial justification for recommending diverse books to all readers, even (and perhaps especially) those who actively disprefer them. Originality/value: The paper illustrates how contemporary work in analytic (and specifically feminist) aesthetics can furnish LIS scholars with the intellectual resources to resolve political problems in the library. The author's analysis also lays the groundwork for further consideration of alternative ideals for readers' advisory that will capitalize on the service's educative and emancipatory potential. (shrink)

Marking the thirty-fifth anniversary since its emergence in the United States, feminist aesthetics commemorates its significant contributions to feminist philosophical inquiry. This anniversary provides an opportunity to reflect on the field's current status and its potential to further enrich philosophical discourse. This article sets out to (a) synthesise the existing theoretical frameworks within feminist aesthetics, (b) delineate its subject matter and (c) chart the dominant trends and interventions marking feminist engagements with aesthetics. In contemporary feminist debates, aesthetics often occupies a (...) peripheral position, a phenomenon attributed to its perceived detachment from the socio-political core of feminism (Plonowska-Ziarek) and its dismissal as a ‘feminine’ or ‘girly’ discipline (Brand Weiser). This marginalisation is further compounded by critiques of the field's allegedly slow response to the ideas, problems and methodologies present in related domains and broader philosophical inquiry (Eaton). So, despite acknowledging the vital role of aesthetics within feminist philosophy, the articulation of a systematic and coherent feminist aesthetic theory remains elusive. The purpose of this article is to provide an overview of the most significant and representative positions within feminist aesthetics in the US tradition. The first section introduces the topic of feminist aesthetics. The second section examines feminist interventions in aesthetics, including their evolution towards intersectional and transnational approaches. The challenges of establishing autonomy within and defining feminist aesthetics are discussed in the third, fourth and fifth sections. The sixth section explores the main currents of feminist aesthetics: (a) historical-critical, (b) essentialist (revisionism vs perspectivism), (c) gynocentric and (d) anti-theoretical. (shrink)

The aesthetics of video games has as much to do with the player as it has to do with the game itself. The aesthetic values that players find in video games depends on the kind of attitude that the player takes toward playing the game. There are three distinct attitudes that players take when they play video games. I call these the goal-seeking attitude, the narrative attitude, and the dollhouse attitude. Each of these attitudes has a distinctive impact on the (...) player’s aesthetic experience. There are certain qualities of games that appeal to one attitude or another, while there are other qualities that can be aesthetically transformed when players take different attitudes toward their play. The aesthetics of video games must account for how the game is crafted alongside the player’s attitude toward their play (2024: 3-4). (shrink)

In _Beyond the Sovereign Self_ Grant H. Kester continues the critique of aesthetic autonomy begun in _The Sovereign Self_, showing how socially engaged art provides an alternative aesthetic with greater possibilities for critical practice. Instead of grounding art in its distance from the social, Kester shows how socially engaged art, developed in conjunction with forms of social or political resistance, encourages the creative capacity required for collective political transformation. Among others, Kester analyzes the work of conceptual artist Adrian Piper, experimental (...) practices associated with the escrache tradition in Argentina, and indigenous Canadian artists such as Nadia Myer and Michèle Taïna Audette, showing how socially engaged art catalyzes forms of resistance that operate beyond the institutional art world. From the Americas and Europe to Iran and South Africa, Kester presents a historical genealogy of recent engaged art practices rooted in a deep history of cultural production, beginning with nineteenth-century political struggles and continuing into contemporary anticolonial resistance and other social movements. (shrink)

Maria Gołaszewska (1926–2015) was a Polish philosopher associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the post-war and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the perspective (...) of gender, and which in this sense should be acknowledged as having anticipated the main postulates of contemporary feminist philosophy. In the article I present Gołaszewska’s philosophy as a cognitively valuable response to the search of feminist aesthetics for a suitable description of women’s experiences related to art and aesthetic perception. In accordance with this aim, I discuss Gołaszewska’s theory of the aesthetic situation, a framework within which she proposed solutions similar to feminist standpoint theories. These theories were developed chiefly on the basis of the feminist philosophy and feminist epistemology (Elizabeth Anderson, Donna Haraway, Sandra Harding, Elizabeth Potter). In recent years they have also found creative applications in feminist aesthetics (Anne Eaton). (shrink)

The rejection of beauty from a political standpoint is a significant part of the legacy of avant-gardism in contemporary art. In particular, Arthur Danto signaled that artistic activism should avoid beauty simply because beauty induces the wrong perspective on whatever it is desired to have an impact upon. While artistic beauty’s tendency would be to heal, he claimed, political protest needs anger as its trigger. This article challenges such an argument that opposes beauty’s emotional effects on political action by examining (...) the complex nature of both beauty and anger. I contest a mere contemplative view of beauty and, using Carolyn Korsmeyer’s account of “terrible beauties,” bound up with discomforting emotions, I defend that beauty can be compatible with anger albeit, in order to be politically truly effective, anger must move from the wish to punish toward more productive forward-looking thoughts. Though often being necessary as a source of motivation to fight for justice, I believe, with Martha Nussbaum and Myisha Cherry, that anger is truly politically effective and keeps its noble side when detached from revenge and directed by hope, a value related to beauty. (shrink)

Historically, philosophers have tended to see moral responsibility as a matter of having a certain metaphysical status. Strawson shifted the debate by defining responsibility as part of an interpersonal practice, but he did not discuss the relationship between interpersonal relationships and the politics of oppression. His view, in other words, was an example of ideal theory. This article adopts a non‐ideal theoretic framework to explore how ordinary responsibility practices uphold intersecting logics of oppression. It argues that the reactive attitudes function (...) to police double binds, creating situations of oppression for marginalized groups. (shrink)

It would be an almost comical understatement to say that, throughout my graduate study in philosophy and subsequent years of teaching and writing, I found myself engaging with the works of Jeremy Bentham somewhat infrequently. Beyond flavorful anecdotes about mummified heads and jabs about stilted nonsense in my undergraduate Intro to Ethics courses—as we segued into extended discussion of John Stuart Mill, of course—Bentham’s direct and recognized role in my philosophical activities has been pretty much nonexistent. With all that said: (...) as a sexual- and gender- nonconforming aesthetician and LGBTQIA+ educator and wellness professional living in what is now a post-Roe United States, I found Carrie D. Shanafelt’s Uncommon Sense: Jeremy Bentham, Queer Aesthetics, and the Politics of Taste (2021) to be rich, captivating, and at times, even genuinely comforting. -/- Shanafelt’s short book is equal parts history of philosophy, philosophical history, biography, and queer manifesto, written in an accessible manner that successfully balances scholarship with readability. I could easily see Uncommon Sense engendering rich discussion in graduate seminars as well as undergraduate courses of various sorts—though I can just as easily see portions of the book’s content generating various rumbles of controversy, at least at some of the institutions I’ve taught at before. (See, for example, Chapter Four, titled ‘Bentham’s Queer Christ.’) Any anticipatory worries of short-sighted reactionary takes aside, the book would absolutely serve well as the central focus on an entire course, supplemented by a range of literature and scholarly material from philosophical aesthetics, queer studies, political theory, and more. Honestly, I would love to teach that class. (shrink)

This article takes as its starting point a recurring complaint in the popular reception of horror movies: that the characters in them behave foolishly. I argue that such complaints fail to recognize that the horror genre exploits a fundamental tension in fiction, between the perspective on a fictional world offered to its audience and that available to its characters. This distinction is highlighted in horror, which often depicts characters with everyday expectations facing extraordinary threats. Horror characters are frequently taken by (...) surprise, and even the better prepared can be thwarted by the malevolence of the generic world. The extent of characters’ misfortunes can resemble deliberate persecution, self-consciously flaunting authorial manipulation. I draw on Todorov’s notion of “pan-determinism” and suggest that a more sinister variant operates in horror. Occasionally, a character’s experiences can help equip them to survive; I argue that this can be inflected politically in films where the malevolent horror world is placed alongside forms of real-life persecution and abuse. Critical attention to the world of horror, and how it is understood from both the outside and within, can clarify the connections between different theoretical understandings of the genre and bring out important but overlooked generic conventions. (shrink)

This article examines colonialism, the regime of whiteness, and feminism; it sketches possible genealogies of theories and practices in order to design an aesthetic of radicality or a radical aesthetic that is insurgent and defiant, based on histories and knowledge. We know that aesthetics is a colonial formation that historically and currently privileges the white European bourgeois who could speculate on the beautiful and the good, while genocidal practices and slave trade were carried out from European soil in other parts (...) of the world. Similarly, the Shoah, the still unthinkable genocide that happened on European soil in the twentieth century and shaped the European present, is still, at its base, covered by rhetorically empty constructions of aesthetic perception, practices, and theories. A radical aesthetics must realign all these categories, not only with a cynical gesture of inversion but to situate them categorically and ethically elsewhere. (shrink)

In a recent paper, Allen Carlson moves away from a purely scientific–cognitive framework for environmental aesthetics towards a ‘combination position’ based on the ecoaesthetics theorised by Xiangzhan Cheng. Carlson argues that only an aesthetics informed by ecological knowledge can offer the correct foundations for the continued relevance of environmental aesthetics to environmental ethics. However, closer analysis of Cheng's theory of ecoaesthetics reveals a number of problems related to questions of anthropocentrism and in particular, the issue of an ethic based on (...) love. In this paper, I offer an alternative approach for the future of environmental aesthetics in the form of an intergenerational aesthetics based on Indigenous and Local Knowledge (ILK). (shrink)

In the article, we advance the notion of an affective atmosphere for analyzing the works of art by two contemporary Latvian photographers—Aija Bley (b. 1967) and Arnis Balčus (b. 1978). The spatial relations of bodies and environments and the photographed sub- jects’ facial expressions and postures negotiate a sense of postsocialist affectivity that we describe as forgetful and drowsy. In the selected images, the affective atmospheres enact the ambiguities of the Soviet legacies, along with the challenges of neoliberal rationality affecting (...) today’s Latvian society. . . By claiming that affective moods are conditioned by the relations of power (colonial pasts and neoliberal futures), we expand the idea of personal being political, offering this feminist mantra a visceral reading (p. 58). (shrink)

This paper analyzes the role of the viewers of photographs of violence. The main argument is that due to the characteristic of the medium, both the photographer and the photographed subjects shape the image. The customary overlooking of the photographed subjects’ agency is conceptualized as epistemic injustice first committed by the photographer and then by the viewer. A method of interpreting war photographs influenced by critical fabulation and listening to images is proposed to overcome it. Even though every case of (...) the photography of violence is different due to its particular context, issues concerning the documentation of atrocities have been raised for many years, especially by those researching colonial or Holo- caust archives. Authoritarian regimes often leave behind many files, among them photographs (Maliszewska 2022). The following generation faces doubts as to how to read those archives and give justice to the dead. Furthermore, today—in the era of photographs immediately spreading around the globe via social media—questions about viewers’ attitudes to the photography of violence seem even more pressing. Those issues are raised, among others, from feminist and postcolonial perspectives. This paper focuses on how the theory of epistemic injustice and the two methods of interpreting—“listening to images” and “critical fabulation”—can be applied to at least some cases of violent photography to better understand the role of its viewers (p. 90). (shrink)

In this article, building on the work of Lauren Berlant (2008, 2022) and Sara Ahmed (2004, 2010), I ask what it means to feel historical in the context of today’s pervasive crisis [of] ordinariness, whether it is possible to talk about a particular postsocialist affect, and what aesthetic forms the affect takes in fiction. The analysis of two Estonian texts will follow the theoretical discussion: Tõnu Õnnepalu’s novel Border State (1993) and Maarja Kangro’s story collection Õismäe ajamasin (2021). -/- Lauren (...) Berlant opens her article ["Thinking About Feeling Historical," in Emotion, Space and Society] on feeling historical with the following sentence: “these are not ordinary times” (Berlant 2008, 4). The times of the writing of this article are not ordinary, either, especially for a person from Eastern Europe contemplating postsocialist affect. Russian aggression in Ukraine, economic precarity, and systematic populist attacks on democratic freedoms have created an uncanny affective effect of returning to the 1990s, but with a twist. While the 1990s in Eastern Europe were optimistic, the dire economic situation alleviated by a promise of joining the West, the 2020s seem bleaker (p. 75). (shrink)

We make choices about our own appearance and evaluate others' choices – every day. These choices are meaningful for us as individuals and as members of communities. But many features of personal appearance are due to luck, and many cultural beauty standards make some groups and individuals worse off (this is called “lookism”). So, how are we to square these two facets of personal appearance? And how are we to evaluate agency in the context of personal beauty? I identify three (...) ways of responding to these questions: beauty advo- cacy, beauty skepticism, and beauty revisionism. Advocates connect an honorific sense of beauty with personal charac- ter. Skeptics focus on beauty standards, and primarily offer a social critique of beauty standards. Some skeptics suggest embracing other aesthetic ideals – even ugliness. Revision- ists critique beauty standards, but retain an honorific sense of beauty. Each position offers tools to evaluate personal agency as aesthetic agency, whether first-personally or through our appreciation of others' appearance. (shrink)

In the article, tenderness, a category presented in the Nobel Prize speech by Olga Tokarczuk, is analyzed as a new ethical imperative, developing the feminist relational ethics, i.e. the ethics of care. In the proposed interpretation, tenderness is a broader category than care understood in feminist terms: it is more universal, inclusive, and unifying. Tenderness also applies to – or perhaps most of all – the world beyond-the-human, as it goes beyond the anthropocentric perspective of the ethics of care. The (...) article opens with a brief overview of feminist interventions in ethics, with an emphasis on the ethics of care. In the next step, the differences between care and tenderness are identified and described to show how the latter can develop and complement feminist ethics of care. Considerations are driven by the question of why tenderness is a better moral imperative than care – more adequate and responding to the challenges of the present times. in the last part of the article, the tender existential attunement is also interpreted in aesthetic terms as an attitude sensitizing to the beauty and complexity of the post-anthropocentric world. (shrink)

In her Nobel speech in 2019, Olga Tokarczuk presented the category of tenderness as a new way of narrating the contemporary world. This article is a proposal for the analysis and interpretation of tenderness in ethical and aesthetic terms. (1) From an ethical perspective, tenderness is interpreted as an extension and complement of feminist relational ethics, i.e., the ethics of care. In the proposed approach, tenderness is a broader and more universal quality than care in the feminist understanding. This article (...) opens with a brief discussion of feminist interventions in ethics, with particular emphasis on the ethics of care. Next, the differences between care and tenderness are enumerated and described, in order to show how tenderness can serve as an extension and complement of the feminist ethic of care. These considerations are guided by the question of why tenderness is a better—more appropriate and more responsive to contemporary challenges—moral guidepost than care. (2) From the aesthetic perspective, tenderness is the negation of a contemplative, distanced, impersonal, and rational view of reality. As an aesthetic imperative, tenderness implies engaged experience of the beauty of reality in all of its manifestations. Therefore, in the last part of the article, existential tender attunement is described in aesthetic terms, as a position serving to sensitize others to the beauty and complexity of the post-anthropocentric world. (shrink)

This book features writing by 17 authors from Germany and from African and Latin American countries on highly diverse aesthetic phenomena as seen from their own different points of view. The texts in this volume all deal with the imperative of ‘decolonization’: they try to highlight aesthetic strategies for the (re)discovery of unthematized, misappropriated, transcultural and even transcontinental histories and memories and aesthetic practices that are absent from or too little perceived within national consciousnesses. Novels, poems and musical performances from (...) the East African region are analysed as intertwined histories of the Indian Ocean and its different languages. Artworks of the Black Atlantic and perceptions of Africa are discussed from, for example, Brazilian perspectives. Within the German context, decolonisation strategies in exhibition practices in ethnological or art museums developed by Nigerian artists are evaluated; new terms such as ‘dividuation’ are proposed to describe these contemporary composite-cultural entanglements, and so on. A stimulating, wide-ranging and heterogeneous portrait of contemporary interwoven world cultures! (shrink)

The publication aims to make suggestions for a 'decolonisation of aesthetics' within an Afro-European framework. The texts (whose authors come from different cultural contexts between Germany, France, Senegal, Benin, Nigeria and Tunesia) do not only refer to heterogenous aesthetic practices understood as subversive and decolonial strategies, but also discuss philosophical questions of a renewed (non-in)dividual humanism. The artistic practices analyzed include artistic installations and ensembles as well as actions in urban and rural space, deceptive manœuvres at the borders and their (...) photographic documentation, and many more. (shrink)

_An exploration of the relationship between contemporary art, politics, and activism, Artists Remake the World introduces readers to the political ambitions of contemporary art in the early twenty-first century and puts forward a new, wide-ranging account of art’s political potential. Surveying such innovations as evidence-driven art, socially engaged art, and ecological art, the book explores how artists have attempted to offer bold solutions to the world’s problems. Vid Simoniti offers original perspectives on contemporary art and its capacity as a force (...) for political and social change. At its best, he argues, contemporary art allows us to imagine utopias and presents us with hard truths, which mainstream political discourse cannot yet articulate. Covering subjects such as climate change, social justice, and global inequality, Simoniti introduces the reader to a host of visionary contemporary artists from across the globe, including Ai Weiwei, Olafur Eliasson, Wangechi Mutu, Naomi Rincón Gallardo, and Hito Steyerl. Offering a philosophy of contemporary art as an experimental branch of politics, the book equips the reader with a new critical apparatus for thinking about political art today. (shrink)

What does it say about you if you enjoy sexist humour? One answer to this question holds that finding sexist humour funny reveals that you have sexist beliefs, whilst another holds that it reveals nothing deeper about you at all. I argue that neither of these answers are correct, as neither can capture the feeling of unwilling complicity we often get from enjoying sexist jokes. Rather, we should navigate between these two positions by understanding the sense of humour as a (...) kind of sensibility or taste, analogous to Anne Eaton’s account of erotic taste. This allows for a fleshing out of the purely belief-centred understanding of the sense of humour, adding emotional, perceptual and motivational aspects to it. Finally, I propose that one’s sense of humour is shaped the representations one engages with, which suggests a possible avenue for habituating it in a more egalitarian direction. (shrink)

This book re-examines feminist theory through the lens of South Asian aesthetic conventions drawn from iconography, philosophy, Indo-Islamic mystic folk traditions and poetics. It discusses alternate fluid representations of gender and intersectional identities and interrelationships in some dominant as well as non-elite Indic aesthetic traditions. The book explores pre-Vedic sculptural and Indus terracotta iconographies, the classical aesthetic philosophy of rasa, mystic folk poetry of Bhakti and Sufi movements, and ghazal and Urdu poetics to understand the political dimension of feminist theory (...) in India as well as its implications for trans-continental feminist aesthetics across South Asia and the West. By interlinking prehistoric, classical, medieval, premodern and contemporary aesthetic and literary traditions of South Asia through a gendered perspective, the book bridges a major gap in feminist theory. (shrink)

Work in feminist and critical race aesthetics brings out a complex interaction between aesthetic, ethical, and political value. The interest in ethico-political considerations is also found in recent literature around art and ethics, such as debates about the work of immoral artists, cultural appropriation and heritage, and art in public spaces. These discussions are characterized by a social structural approach to the ethico-political value of art that focuses on relations between artworks, other artefacts, and individuals in specific sociohistorical contexts and (...) as they emerge from specific social organizations. In this paper I present the main features and assumptions behind these social structural approaches to the values of art. I examine accounts that take ethico-political value to depend on artworks’ contributions to public discourse and on their role in constituting social structures. (shrink)

The question of whether movies can deliver philosophical content is a leading topic in the cognitive and analytic debate on film. But instead of turning to the well-trodden terrain of narrative and emotional engagement, this is the first time fashion and costume choices are analyzed to demonstrate how movies can be said to be doing philosophy. -/- Considering how fashion and costumes can deliver the epistemic content of a film and act as a guidance to the interpretation of the philosophical (...) content of a film, Laura T. Di Summa examines fashion and costume choices in classical and contemporary films. She discusses a number of cinematic examples, and the costumes and fashion elements within them, illustrating the importance of issues such as the performative side of fashion, the alteration between novelty and repetition, the pivotal role of the body, and the relation between fashion, style, and individual as well as collective identity. -/- Featuring close examinations of 1950s melodramas, Hollywood blockbusters and documentaries such as All That Heaven Allows, Mad Max Fury Road, and McQueen, Di Summa uses an innovative new lens to provide fresh philosophical analysis of films. The result is not only an advancement of our understanding of the aesthetic means through which film can do philosophy, but the first insights into a philosophy of fashion. (shrink)

Fat people are often depicted in popular media as imperfect, their whole characters riddled with negative features that can be attributed only to their non-idealized body. These representations imply not only that fatness itself is aesthetically and physically imperfect, but that fatness is caused by and causes more robust character imperfections. Using Hulu series Shrill as a model, I argue that in order to address our collective distaste for fat bodies (and, by extension, our shared anti-fat bias) we must create (...) and engage with humanizing representations that show fat people as imperfect without blaming those flaws on their weight. By creating more complex fat characters, we can learn to love and accept fat people without reinforcing harmful stereotypes about fatness. (shrink)

Starting from the notion of the Ideal Feminine, this paper discusses the representation of trauma and the portrayal of women as open wounds in the designs of Alexander McQueen and John Galliano. Particularly, I explore how the McQueen’s Deadly Woman and Galliano’s Doll question the boundaries between mortality, sexuality and decay. By examining the relationship between fear, desire and disgust in the aesthetic representation of the wounded fashioned body, I argue that in their works disgust functions as an empowering emotion, (...) contributing to the perception of the aversive fashioned body as a feministic act. (shrink)

The culturally pervasive tendency to identify aspects of the body as aesthetically imperfect harms individuals and scaffolds injustice related to disability, race, gender, LGBTQ+ identities, and fatness. But abandoning the notion of imperfection may not respect people’s reasonable understandings of their own bodies. I examine the prospects for a practice of aesthetic assessment grounded in a notion of the body’s function. I argue that functional aesthetic assessment, to be respectful, requires understanding the body’s functions as complex, malleable, and determined by (...) the projects and interests of the person whose body it is. Aesthetically relevant functions, on this account, are determined neither by the body’s status as organism nor by cultural assumptions about how bodies should function or be used. (shrink)

Abstract:There is a storied history of Native and Indigenous feminisms on Turtle Island (North America). We are fortunate that many of those stories birthed from an ancestral tradition of storytelling and survivance were captured in the canonical feminist anthology This Bridge Called My Back: Writings of Radical Women of Color. In celebration and commemoration of 40 years since This Bridge was first published we visit with three of the books original Native and Indigenous contributors–Chrystos, Max Wolf Valerio, and Jo Carrillo–to (...) recount old as well as new stories as they explore what Native and Indigenous feminisms mean to them and their continued work for Indigenous visibility. The conversation provides a unique intergenerational vision for conceptualizing contemporary Native and Indigenous feminisms all the while building upon the legacy and path set forth by amazing Native and Indigenous women trailblazers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Queer Defamiliarisation: Writing, Mattering, Making Strange by Helen PalmerTrevor Norris (bio)Helen Palmer, Queer Defamiliarisation: Writing, Mattering, Making Strange Edinburgh: Edinburgh University Press, 2020, 214 pp. ISBN 978-1-4744-3414-0Helen palmer is senior lecturer in English literature and creative writing at Kingston University in London and the author of Deleuze and Futurism: A Manifesto for Nonsense (2014). Her research examines queer theory, performance, literary modernism, gender, aesthetics, and feminist and Afrofuturist (...) fiction. Queer Defamiliarisation explores these ideas and also includes part of Palmer’s literary creative response to James Joyce. The project here is an inquiry into reading, thinking, writing, and pleasure and considers how language can change us when we experience the relationship between naming and the performance of identity as a material boundary: the places where our bodies, behavior, and language are subject to violence in gendered, sexualized, and racialized forms. Palmer also suggests how our own and others’ experiences of violence might be bound up with an aesthetics of linguistic and formal complexity, and she reimagines the difficulty of naming for violently excluded identities by reviewing a range of complex experimental and avant-garde literary works in which new identities can emerge. Showing us how we might understand the materiality of bodies, sense making, and desire in emancipa-tory ways, Palmer attunes us to a phenomenology of reading in which we [End Page 217] recognize how argument undergoes metamorphosis by always being a hybrid of theory, criticism, cultural history, appropriation, memoir, and experimental form. Palmer’s wide-ranging arguments speak about the porosity and mutual embeddedness of our selves, our language, our bodies and environments, and the queer processes of world creation that act on and emerge from these things. Placing her work with other texts that rethink gender, personhood and ecology through new materialisms is productive, therefore, and readers might find value in looking at Queer Defamiliarisation alongside Donna Haraway’s (2016) Staying with the Trouble, Timothy Morton’s (2019)Humankind, and Rebecca Tamás’s (2020) Strangers inasmuch as they think through the ethics and emergence of relatedness and examine what it means to play, be alongside, care for, and nurture other beings and their worlds. Palmer’s project stays with the kind of “serious and... lively” trouble that allows “unexpected collaborations and combinations, in hot compost piles” (Haraway 2016, 4).The fertile landscape is mapped out in three introductions whose themes are explored in four chapters. Palmer transforms the early-twentieth-century Russian formalist concept of defamiliarization as literary and aesthetic device, the “paradoxical process that... restores sensations to things through a [linguistic] distancing that is also a re-proximation, an approximation, a touching” (9), by reading early- to mid-twentieth-century literary and cultural theorists such as Shklovsky, Brecht, and Jakobson through the ideas of contemporary queer, feminist, and decolonial scholars such as Sara Ahmed, Rosi Braidotti, and Vicki Kirby. She questions how the estrangement of naming operates for those whose bodies are not normatively gendered, racialized, and sexualized in relation to dominant forms of representation and power and explores concerns with and for queer, trans, decolonial, and feminist aesthetics. Throughout, she encourages us to think of the strangeness of language in relation to an ethics and an erotics of radical sympathy with the stranger because it is in the “continuous movement and continual transformation” (13) of naming, and categories of naming, that an emancipatory ethics can be found. This is a timely intervention by Palmer given current anxieties around naming gender and sex, and her argument seeks to move beyond “unhelpful binaries” to acknowledge the “infinite variations and permutations of existence and experience” (14).Palmer productively combines Sara Ahmed’s concept of disorientation from Queer Phenomenology (2006) with the psycholinguistic registers of Jakobson’s “contiguity and displacement” to suggest that queer defamiliarization is a performance of language and naming that “cleaves through and between sameness and difference,” “knocking signifiers loose and ungrounding bodies,” leading to “perceptual shifts and corporeal responses” that can “materially en-gender newness” (Palmer 17). From the start of the section “Spectaxa” (152), Palmer foregrounds the materiality of her text in increasingly modernistic excess to illustrate what we have been reading and... (shrink)

In this paper, I identify and provide an explanation for a heretofore unrecognized puzzle in feminist aesthetics and the philosophy of horror. Many horror movie fans have an aversion to rape scenes. This is puzzling because genre fans are not equally bothered by the depiction of other types of violence and cruelty. I argue that we can make sense of this selective aversion by appeal to the notion of ‘distance’, which philosophers of horror use to explain why people are attracted (...) to horror movies in the first place. When we consume horror, we ‘distance’ ourselves from the scary things depicted, which allows other mechanisms to kick in that lead to overall enjoyment. I argue that ‘distance’ often collapses when viewers are confronted with depictions of rape because rape is common in real life and a gendered form of violence that is implicated in social injustice. (shrink)

Revered as the ‘Queen of Qawwali’ and ‘Queen of Sufi music’, sixty-seven-year-old Abida Parveen is a spiritual phenomenon who transcends gender while performing. She is known for her signature fashion style of buttoned-up masculine-cut kurta with matching shalwar and an ajrak shawl. Her aesthetic circulates within transnational and national fashion media and popular cultural spaces through descriptors such as androgynous, masculine, modest, indigenous and sacred. As a highly respected figure with widely circulating performances on both the national and international stages, (...) as well through multiple media circuits, including television, social/digital media and broadcast concerts, Parveen's undeniable fame and her transgressive entry into an otherwise male-dominated music genre raises important questions about gender, embodiment, spirituality and the sacred. In analysing Parveen's body and dress in performance, I centre her sartorial style as sites of spirituality and affect to ask: what does it mean for Parveen to transcend gender through a performance of androgynous Sufism and mobilise it as an entry way into spiritual iconism? What imaginations around spirituality and the sacred become available through Parveen's sartorial practices? How does Parveen's style offer an alternative route to Muslim spirituality? Taking up Parveen's embodied coagulation between fashion and the sacred reveals an absence in feminist fashion studies on which subjects and styles are viewed as important, relevant, resistant or transgressive and thus worthy of theorisation. As a feminist scholar interested in the relationship between gender, power and self/representation, I see Parveen as a key global cultural and spiritual figure who necessitates transnational feminist analysis. This article is situated at the intersections of fashion and cultural studies, feminist, queer and trans spiritualities and South Asia studies. (shrink)

This book is a series of examinations of Black queer cis and transfeminity, a personal and loving homage to "Black femmes poetics of survival during the Trump era and beyond." Tinsley examines contemporary Black femme cultural production: the music of Kelsey Lu and Janelle Monáe; the visual work of Juliana Huxtable; Janet Mock's writing/directing of the TV show Pose, and the creations of Tourmaline; the fashion of Indya Moore; and (F)empower. She is interested in Black femme representations in film, popular (...) music, television, graphic novels, and poetry to conceptualize Black femme as figuration: that is, as a set of consciously, continually rescripted cultural and aesthetic practices that disrupt conventional meanings of race, gender, and sexuality. (shrink)

In 2017, the artist Dana Schutz presented her painting, Open Casket, at the Whitney Biennial. Both the painting and the painter were subsequently subjected to criticism from the art world. A central critique was that Schutz usurped the story of Emmett Till and that, as a white woman, she had no right to do so. Much can—and has—been said on the appropriateness of Schutz's painting. In this article, I argue that Open Casket is a site of oppression, an object that (...) both reflects and reinforces dominant racial hierarchies. Specifically, I argue that Open Casket is a case of what Linda Alcoff calls “the problem of speaking for others”: when a member of a privileged social group speaks on the social experiences of an oppressed group, effectively silencing that group. I explore the moral and epistemic implications of Open Casket and related works and provide some reasons to think that socially privileged persons should not depict the experiences of socially oppressed persons—at least in many cases. I conclude by presenting some conditions under which it may be appropriate for privileged artists to speak for oppressed groups. (shrink)

I wonder why women philosophers, once recognized, too often seem to drop from the intellectual radar screen or, at least, to drop mainly to the land of footnotes and bibliographies. I consider one distinguished moral philosopher, Elizabeth Lane Beardsley, both to highlight her philosophical contributions and as a case study that suggests more widespread problems in recognizing t5he work of female philosophers and ensuring their rightful place in our professional dialogue. I consider sociological and professional factors which might partially explain (...) why work by women philosophers has not always received the attention in the professional dialogue it seems to deserve. I conclude with some modest suggestions about the efforts that we can make to address these problems, including the organization of readings for our own courses, the sources consulted for our own research and writing, and the preservation of rec rods of meetings and other public gatherings that recognize women philosophers. (shrink)

Curating is a confounding concept—highly specialized in its technical meaning but wildly ecumenical in colloquial usage. This makes it a good candidate for philosophical attention. Considering how often the boundaries of curating have been redrawn since the 1960s, it is encouraging to see philosophers finally turning their lens on it in the last decade. This is also partly what makes Sue Spaid’s The philosophy of curatorial practice: between work and world a welcome contribution. The book might fall short of a (...) definitive philosophical account of curating, but it charts helpful vectors of interest for future scholarship. On a personal note, as someone who has had the opportunity to debate Spaid on the subject of curating, both at live events and in print, I consider her book a meaningful addition to the conversational momentum the topic has been enjoying. -/- In what follows, I start with some general remarks and then focus on two constitutive aspects of Spaid’s book—her account of what curating is and her description of what curated exhibitions do. These are also two of the central questions philosophy has traditionally asked of art. In this sense, Spaid’s study traverses familiar methodological and thematic terrain. What she adds to the existing scholarship on perennial issues of intentionality, authorship, spectatorship, interpretation, etc. is her keen curiosity about the increasingly rich contributions curated exhibitions make to the life of art. (shrink)

I consider what draws us to perceiving beautiful bodies in art and athletics--repeatedly and over time--that is informed by viewers' changing perceptions derived from recent publications in fashion and sport, the philosophy of sport, feminist film theory and aesthetics under the ever-expanding umbrella of somaesthetics. This paper won the American Society for Aesthetics 2023 Somaesthetics Prize.

Why is painting unique among the visual arts? And why in the late sixteenth century did Cesare Ripa in his landmark Iconologia choose to create a distinctly female template for the act of painting? Moreover, why would a woman ever choose to paint herself as La Pittura (The Allegory of Painting)? This essay offers the thoughts of a painter-philosopher on the historic significance of the choice of topic, iconography, and gender of the most recognized allegory of Painting, namely the original (...) textual description of the Italian writer Cesare Ripa on Pittura (1593) which was later illustrated by various artists (1603 and following). This pattern stands in contrast to an erosion of women’s influence in favor of men’s art: a norm that has internalized male privilege and power for centuries. Yet painting remains a medium that emphasizes women’s talents, particularly as they are embodied in Pittura. (shrink)

Why is painting unique among the visual arts? And why in the late sixteenth century did Cesare Ripa in his landmark Iconologia choose to create a distinctly female template for the act of painting? Moreover, why would a woman ever choose to paint herself as La Pittura (The Allegory of Painting)? This essay offers the thoughts of a painter-philosopher on the historic significance of the choice of topic, iconography, and gender of the most recognized allegory of Painting, namely the original (...) textual description of the Italian writer Cesare Ripa on Pittura (1593) which was later illustrated by various artists (1603 and following). This pattern stands in contrast to an erosion of women’s influence in favor of men’s art: a norm that has internalized male privilege and power for centuries. Yet painting remains a medium that emphasizes women’s talents, particularly as they are embodied in Pittura. (shrink)

Why is painting unique among the visual arts? And why in the late sixteenth century did Cesare Ripa in his landmark Iconologia choose to create a distinctly female template for the act of painting? Moreover, why would a woman ever choose to paint herself as La Pittura (The Allegory of Painting)? This essay offers the thoughts of a painter-philosopher on the historic significance of the choice of topic, iconography, and gender of the most recognized allegory of Painting, namely the original (...) textual description of the Italian writer Cesare Ripa on Pittura (1593) which was later illustrated by various artists (1603 and following). This pattern stands in contrast to an erosion of women’s influence in favor of men’s art: a norm that has internalized male privilege and power for centuries. Yet painting remains a medium that emphasizes women’s talents, particularly as they are embodied in Pittura. (shrink)

Whether it be in universities’ curricula or in traditional accounts of the history of philosophy, early modern women philosophers have frequently been treated as secondary, inconsequential characters. Although many valuable efforts are being made to counter this state of affairs, a generalized tendency to focus on well-known male philosophers and to establish them as representative figures of the early modern period still seems to exist. But does this strategy produce an accurate historical account of early modern philosophy? This essay explores (...) diverse causes of the exclusion of early modern women philosophers from the canon, reflecting on the historical and political aspects of this phenomenon. This piece also intends to highlight the importance of the innovative projects that have been recently created in the field of the digital humanities, which aim to mitigate and to counter said exclusion. (shrink)

'Hands Tied' brings together two very different films about hands: Maria Lassnig's Palmistry (1973) and Ayesha Hameed's A Rough History (of the Destruction of Fingerprints) (2016). These works are contextualised and their scope extended further by a roundtable discussion featuring participants Rachel Aumiller, Sam Dolbear, Nadine El-Enany, Amelia Groom, Clio Nicastro, Anja Sunhyun Michaelsen, and M. Ty., who discuss their relation to fate, work, pleasure, touch, and surveillance.

The woman at the heart of Pearl Jam’s “Better Man” (Vitalogy, 1994) is trapped. She has committed herself to a relationship that makes her miserable, but she sees no viable alternative to staying in it. She mourns a past self who might have been able to leave and dreams of a dierent way things might be, but remains unable to move on. It is tempting to view her with a mixture of pity and frustration (reecting some of the personal circumstances (...) -- Eddie Vedder’s mother’s second marriage -- informing its composition). As a moral being, she appears to be hopelessly compromised by her situation, even as she is also doing her best to survive under conditions designed to undermine her autonomy and keep her trapped (as abusive relationships do). The song is not so much critical of her choice to stay as it is confused by and resigned to it. -/- What keeps a person where she so clearly does not want to be? -/- The song itself was, at least early in its recorded life for Pearl Jam, similarly compromised. Vedder appears to have thought of it as too “accessible”, too much of a pop hit for the kind of musical vision he had in mind either for Vs. (for which it had originally been intended) or for Vitalogy; by this point in the band’s career, he was ever more actively resisting success, accessibility, and everything that went with the version of rock star life imposed collectively on the band and on him as an individual. The form that resistance took was an exercise of artistic and other forms of control, sometimes exercised in ways that were destructive or damaging (to the band and its internal relationships, its fame or success, its image, its artistic identity, etc.). -/- What keeps an artist or a band where they so clearly do not want to be? In this chapter, I oer a loose exploration of some possible philosophical approaches to answering the question of what keeps us where we are, like it or not, worked out in parallel through the lyrics of “Better Man” and the circumstances of the song’s eventual arrival Vitalogy. My main interest is in examining the ethical dimensions of the question itself -- what, if anything, are we morally required or expected to do under compromised or compromising conditions? My main suggestion is that answering the question might require of us a messier, more ambivalent, and perhaps more compassionate notion of moral agency, inspired by Simone Weil’s work on affliction. (shrink)

The frontispiece of Hobbes's Leviathan is justly renowned as a powerful visual advertisement for his political philosophy. Consequently, its rich imagery has been the subject of extensive scholarly commentary. Surprisingly, then, its gendered dimensions have received relatively limited attention. This essay explores this neglected facet of the frontispiece. I argue that the image initially appears to present a hypermasculine sovereign. However, upon closer inspection, and considered alongside Hobbes's economic theory, it yields to a reading of the sovereign as an ambiguously (...) gendered figure. Reading the frontispiece through the prism of gender and the economy reveals not a static image of unwavering male power but rather one of an equivocally-sexed creature teeming with life, contradictions, and complexities worthy of continued examination. (shrink)

Arthur C. Danto, philosopher and art critic for The Nation from 1984-2009, offered interpretations of artworks by a wide array of artists, including Eva Hesse, Judy Chicago, and Cindy Sherman, whose "disturbatory" works were either ignored or denounced by mainstream critics at the time. Danto's championing of feminist art was deliberate and delightful; he openly endorsed the Guerilla Girls! His feminist art critical writings ultimately shaped the early development of what has come to be known as "feminist aesthetics" particularly his (...) focus on defiant artworks by female artists who sought to reclaim agency and expression of the female body. He revived interest in the neglected topic of beauty while simultaneously advancing radical political goals within the artworld. His call to arms urged art viewers to experience the new--what he often called "art on the edge and over"--wherein, "The experience of art becomes a moral adventure rather than merely an aesthetic interlude" (in Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s, 1996). (shrink)

Stephen Davies’s Adornment lays an admirable foundation upon which much fruitful philosophical discussion about the topic of adornment can—and likely, will—be b.

During the early part of the classic Hollywood sound period (1930–60), filmmakers sharpened a standardized way to portray Native American characters in Westerns. Such figures were depicted as disgusting by virtue of being beyond the pale in terms of their “acceptable” moral behavior, as measured by common white sensibilities of the era. This behavior was attributed to their nonwhiteness and therefore presumptively stemmed from their allegedly subhuman, “savage” nature. This stock depiction of Native American characters became one of creatures who (...) communicated by means of silence, war whoops, animal sounds, or unintelligible language, and committed grievous moral transgressions without qualm. In this article I analyze the theoretical structure of such depictions and how these depictions work in terms of typical audience reaction, using recent work in philosophy of film, philosophy of emotion, and cognitive film theory. (shrink)

In this paper we track the ‘body positivity’ movement from its origins, promoting radical acceptance of marginalized bodies, to its co-optation as a push for self-love for all bodies, including those bodies belonging to socially dominant groups. We argue that the new focus on the ‘body positivity’ movement involves a single-minded emphasis on beauty and aesthetic adornment, and that this undermines the original focus of social and political equality, pandering instead to capitalism and failing to rectify unjust institutions and policies. (...) As such, we argue that the ‘body positivity’ movement ultimately marginalises further the bodies for which it initially sought justice and acceptance. (shrink)

This article is part of a larger project that explores how to channel people’s passion for popular arts into legal social justice by reconceiving law as a kind of poetry and justice as dance, and exploring different possible relationships between said legal poetry and dancing justice. I begin by rehearsing my previous new conception of social justice as organismic empowerment, and my interpretive method of dancing-with. I then apply this method to the following four “ethico-political choreographies of justice”: the choral (...) dance of souls qua winged chariot-teams, a dancingly beautiful friendship with the community, a tightrope-dance of the cool, and humans dancingly reimagined as positioned actors in fluidly moving groups. I then synthesize these analyses into “dancing justice,” defined as the dynamic equilibrium sustained by a critical mass of a community’s members comporting themselves like social dancers. (shrink)