This chapter contains sections titled: Mobile Art Gallery The State of Aesthetic Theory The Female Fleshy Canvas: Body Art from a Feminist Perspective Gadamer's Hermeneutics and Tattoos: Play, Festival, and Symbol Art Cannot Change the World, but it Can Influence Those Who Will.

One of my projects as a Research Fellow for The Institute for Theological Partnerships at the University of Winchester is the Feminist Theology and Art Forum. This project was born out of my Doctoral thesis which combines both art and feminist liberation theologies. Thus creating a methodology in which art as language gives voice to women’s experience within the theological world. The Forum so far has opened a window of opportunity for female artists and feminist theologians (...) alike to exhibit visual artwork that demonstrates their incarnational experience through the concept of Christ/a and Mary/miriam from a feminist theological perspective. There have been two exhibitions with a third exhibition this year which will have a feminist ecological/theological theme highlighting the important role that many women globally play in their own wellbeing and flourishing in connection with the Earth/gaia. This article moves briefly from personal experience, which is where all feminist theology begins, into the wider world of possibilities for women to use both art and feminist theology as a model for expressing another way of speaking their experience theologically, ecologically, socially and politically and in so doing create a space in which they too may flourish. (shrink)

Birthing is a natural phenomenon. However, in the era of modernisation, it has dramatically changed and transformed into a technological affair. Some feminists claim that advances in medicine and assisted reproductive technologies have opened up numerous opportunities and choices for women to free themselves from their destined role of maternity by separating sex from reproduction. But are these technological artefacts always there to emancipate women or just another way to keep them subordinated to serve social needs? Other feminists (...) argue that technology is a controlling tool. It eliminates a woman’s choice and uses her body as a baby-manufacturing machine to perpetuate pervasive social roles and responsibilities. Again, if technology is simply a patriarchal trap, then can technological exclusion be the key to all reproductive issues? It seems not! Technology is the inevitable new reality of the world influenced by socio-cultural practices, values, norms and belief system that has a strong impact on human existence. The present paper is an attempt to critically explore and evaluate the ethical challenges posed by technicization of motherhood from two opposite feminist perspectives. I argue that these ART-centred debates are significant but polarised and insufficient to resolve maternal problems. Thus, we need an egalitarian model of technology that saves women from the threat of technicization, and be able to provide a dignified use of it. The paper discusses the impact of technicization on maternal self in relation to ARTs and proposes suggestions to overcome this problem. (shrink)

Resumen: El presente artículo pretende analizar el discurso empleado por las voces líricas femeninas de las elegías anglosajonas medievales The Wife’s Lament y Wulf and Eadwacer. Mediante la idea de la conciencia del cuerpo femenino como origen de la écriture féminine propuesta por Luce Irigaray y Hélène Cixous, figuras principales del feminismo de la “diferencia” francés, se determinará que el uso discursivo empleado por las voces elegíacas femeninas diverge en cuanto al utilizado por voces elegíacas masculinas y que, de este (...) modo, supone un medio por el que hallar una identidad femenina propia más allá de los constructos de género patriarcales vigentes en la sociedad anglosajona medieval. Abstract: This article aims to analyse the discourse employed by the female lyrical voices in the medieval Anglo-Saxon elegies The Wife’s Lament and Wulf and Eadwacer. Through the idea of female body self-awareness as the origin of écriture féminine proposed by Luce Irigaray and Hélène Cixous, leading figures in French feminism of the sexual “difference”, we will determine that the discursive use applied by female elegiac voices diverges from that used by male elegiac voices and that, thus, it provides a means to find a female identity beyond the patriarchal gender constructs of medieval Anglo-Saxon society. (shrink)

In recent years feminist scholarship has increasingly focused on the importance of the body and its representations in virtually every social, cultural, and intellectual context. Many have argued that because women are more closely identified with their bodies, they have access to privileged and different kinds of knowledge than men. In this landmark new book, Paula Cooey offers a different perspective on the significance of the body in the context of religious life and practice. Building on (...) the pathbreaking work of Elaine Scarry in The Body in Pain, Cooey looks at a wide range of evidence, from the Argentine prison narrative of Alicia Partnoy, to the novels of Toni Morrison and the paintings of Frida Kahlo. Drawing on current social theory and critique, cognitive psychology, contemporary fiction and art, and women's accounts of religious experience, Cooey relates the reality of sentience to the social construction of reality. Beginning with an examination of the female body as a metaphor for alternative knowledge, she considers the significance of physical pain and pleasure to the religious imagination, and the relations between sentience, sensuality, and female subjectivity. Cooey succeeds in bringing forward a sophisticated new understanding of the religious importance of the body, at the same time laying the foundations of a feminist theory of religion. (shrink)

This article analyzes selected short stories in Cecelia Ahern’s thirty-narrative collection Roar to see how the perspectives of posthuman and postfeminist critique can be incorporated via the common dystopic umbrella into the mainstream female readership of romance literature. The dystopic worlds created by Ahern in Roar portray inequality and power imbalances with regard to gender and sex. The protagonists are mostly middle-aged women whose family and personal lives are either regulated by dystopic realities or acquire a “dystopic” dimension, the (...) solutions to which are provided by, among other tropes, “posthuman” transformations. Roar introduces other-than-human elements, mostly corporeal alterations, in which the female bodies of Ahern’s characters become de-formed and re-formed beyond androcentric systems of value. The article raises the question of whether feminist and, to some extent, “posthuman” approaches, need to be popularized in such an abridged way as Ahern does in her volume. The answer depends upon the identification of the target audience and their expectations. Ahern’s Roar represents popular literature intended to be sold to as many readers as possible, regardless of their education, state of knowledge, etc. Viewed from that perspective, what some critics could perceive as the collection’s structural weaknesses constitutes its utmost marketing asset. The essay argues that despite not being a structurally innovative work of art, Ahern’s book fulfils the basic requirements of the popular fiction genre, intermittently providing some extra, literary gratification and popularizing rudimentary elements of the posthuman and postfeminist thought. (shrink)

The topic of the self has long been salient in feminist philosophy, for it is pivotal to questions about personhood, identity, the body, and agency that feminism must address. In some respects, Simone de Beauvoir's trenchant observation, "He is the Subject, he is the Absolute — she is the Other," sums up why the self is such an important issue for feminism. To be the Other is to be the non-subject, the non-person, the non-agent — in short, the (...) mere body. In law, in customary practice, and in cultural stereotypes, women's selfhood has been systematically subordinated, diminished, and belittled, when it has not been outright denied. Since women have been cast as lesser forms of the masculine individual, the paradigm of the self that has gained ascendancy in U.S. popular culture and in Western philosophy is derived from the experience of the predominantly white and heterosexual, mostly economically advantaged men who have wielded social, economic, and political power and who have dominated the arts, literature, the media, and scholarship. Responding to this state of affairs, feminist philosophical work on the self has taken three main tacks: (1) critique of established views of the self, (2) reclamation of women's selfhood, and (3) reconceptualization of the self to incorporate women's experience. This entry will survey feminist perspectives on the self from all three of these angles. (shrink)

Introduction. The problem of the “female issue in art” is one of the most pressing today. “Gender art” or “female art” is one of the trends in modern art exhibitions. Thanks to art feminism, today women artists can fully demonstrate their talent, which arouses great interest in their work from the world art community. The purpose of the article is to identify specific stylistic features characteristic of “female subjectivity” and feminist practices in the art of (...) the second half of the twentieth century. Methods: we used general scientific methods of analysis and synthesis, the phenomenological method, since we identify the existential intentions that underlie modern art. We also use the hermeneutic method as we uncover hidden meanings in the works of women artists. The scientific novelty lies in the fact that we identify and describe specific stylistic features characteristic of the work of women artists of the second half of the twentieth century, which has not been done before. Results. We conducted a philosophical and cultural analysis of the works of women artists: Berthe Morisot, Hannah Höch, Frida Kahlo, Alice Neel, Louise Bourgeois, Sarah Lucas, and identified common features characteristic of their work. We also conducted a philosophical and cultural analysis of art feminism as a phenomenon. Conclusions. Among the stylistic features that unite the work of women artists of the second half of the twentieth century, we have identified the following: appeal to purely female handicraft techniques (“fiber art”); the subject of art is the inner world of the artist’s own feelings and experiences; art is often considered as a kind of art therapy, a way to survive the traumas suffered; a female artist has more empathy for the model and her mental state than male artists; women artists are characterized by a rethinking of the attitude towards the body, an image of the body as unaestheticized, non-normative, unadorned, irony towards the body; for women artists, art often becomes a way to fight for their rights, gender and racial equality. (shrink)

"A first-rate introduction to the field, accessible to scholars working from a variety of disciplinary and theoretical perspectives. Highly recommended... " —Choice "... offers both broad theoretical considerations and applications to specific art forms, diverse methodological perspectives, and healthy debate among the contributors.... [an] outstanding volume."—Philosophy and Literature "... this volume represents an eloquent and enlightened attempt to reconceptualize the field of aesthetic theory by encouraging its tendencies toward openness, self-reflexivity and plurality." —Discourse & Society "All of the authors (...) challenge the traditional notion of a pure and disinterested observer that does not allow for questions of race/ethnicity, class, sexual preference, or gender." —Signs These essays examine the intellectual traditions of the philosophy of art and aesthetics. Containing essays by scholars and by the writer Marilyn French, the collection ranges from the history of aesthetic theory to a philosophical reflection on fashion. The contributions are unified by a sustained scrutiny of the nature of "feminist," "feminine," or "female" art, creativity, and interpretation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Aesthetics in Feminist PerspectiveJulie Van CampAesthetics in Feminist Perspective, edited by Hilde Hein and Carolyn Korsmeyer; xv & 252 pp. Bloomington: Indiana University Press, 1993, $39.95 cloth, $14.95 paper.Has feminism been hijacked by one lock-step agenda, suppressing all dialogue and debate? Far from it, judging from this collection of seventeen essays on feminist aesthetics. The first such collection in English, it includes (...) eleven essays previously published in Hypatia (1990).This well-organized volume offers both broad theoretical considerations and applications to specific art forms, diverse methodological perspectives, and healthy debate among the contributors. The section on “The Nature of Art: Some Feminist Alternatives” considers feminist perspectives as alternatives to traditional concepts of art, motivated by considerations of the art of women. Skepticism abounds in the section on “Interpretation and Point of View” concerning a “universal” or “paradigmatic” female voice in literature, film, and visual art. “Philosophical and Critical Legacies” reveals diverse feminist readings of Kant, Nietzsche, Cartesian metaphysics, and postmodernism.Co-editor Hilde Hein proposes that aesthetics provides a promising road map for feminist philosophy and indeed philosophy generally. Aesthetics has learned to reject foundationalism and essentialism in favor of pluralism, a necessity in the face of the astonishing diversity and ever-changing landscape in contemporary art. This theoretical transition in aesthetics shows how philosophy could fruitfully shed the false security of essentialism to embrace the sometimes raucous pluralism of methods, races, cultures, and genders assaulting all humanities disciplines in recent decades. As co-editor Carolyn Korsmeyer notes, feminist scholarship challenges “the mask of universality and gender-neutrality” (p. vii). [End Page 178]The myth that feminist scholarship is merely thinly veiled political action, devoid of intellectual integrity, is shattered by this collection. Well-represented is the diversity of analytic and European methodologies that enrich contemporary philosophical dialogue. Many of the articles scrutinize the nature of “feminism” itself, as well as appropriate methodologies and questions. The interdisciplinarity of feminist research also is in welcome evidence, with seven essays by scholars from English, African-American studies, music, and psychology.Should feminist art and aesthetics be “nondominative”? Should it “endorse” female experience? Do proposals for “ideal” feminist artistic expression inadvertently retreat to the essentialism and uniformity that feminists have sought to dispel? Should feminists reject the tradition of “formalism” in favor of an approach that re-integrates art with the community and the concerns of daily life? This perspective is widespread today in postmodern thought, but feminist considerations bolster the case made elsewhere for the fall of the so-called elite object.Are there distinctive features that mark the work of female artists, such as group participation, rather than performances for passive audiences? This feature is pervasive in contemporary art, from the happenings of Andy Warhol in the 1960s to the “Messiah” sing-alongs popular for decades. Is feminist art marked by a melding of aesthetic and erotic elements? Surely that is also a trait of the art of most cultures, by men as well as women.These explorations reveal a paradox in today’s feminism. In highlighting female traits (such as the virtues of being caring and nondominating), are women being celebrated, liberated, and freed? Or are they frozen into roles which not all women consider their most important attributes as persons?Female artists and theorists deserve enormous credit for encouraging a re-thinking of the ways in which art is created and understood, but many other forces drive these developments as well. Indeed, some of the harshest critics of analytic philosophy are analytic philosophers steeped in that tradition, both male and female. It seems a pointless chicken-and-egg exercise to wonder if feminists caused this re-thinking or were one of several groups in a happy confluence of re-examination from various perspectives. Fortunately, the issue need not be resolved for scholars and students to appreciate this outstanding volume.Julie Van CampCalifornia State University, Long BeachCopyright © 1995 The Johns Hopkins University Press... (shrink)

By definition, feminism is concerned with the historical, social and political meanings of sexual difference in the human body, and the spectrum of experiences those meanings produce. At the beginning of the twenty-first century, gendered forms of violence persist, abortion remains a political issue, reproductive and cosmetic technologies and their concomitant ethical questions are proliferating, and the presence of women's bodies in public spaces and for public consumption produces a range of anxieties about women's well-being and the common good. (...) Feminist scholars from across the disciplines grapple with these issues in Feminism and the Body. In so doing they continue a history of intellectual endeavor that, for centuries, has striven to identify the interplay between corporeal differences and relationships of power. This collection will take the reader on a journey into myriad domains in which a variety of discursive effects come to life in the embodied subject: from the theatres of medical surgery and law to the discussion fora of sex therapy and marriage guidance experts; from Peruvian villages of the late twentieth century to African American plays of the 1920s and 1930s; from explicitly feminist novels and films to the mainstream press and right into feminist scholarship that theorises the female body. In so doing, this collection restates and reinvigorates feminism's long-standing, necessary and emphatic engagement with the female body. (shrink)

After the cultural turn, it has become necessary to reconsider society’s relations to nature. This article provides a theoretically sound basis for feminist interventions in global environmental policies drawing on feminist economics and queer ecologies to theorize material perspectives on gender and nature. This is the starting point for rethinking social and gender relations to nature from the resource politics approach. Beyond the feminization of environmental responsibility this approach aims at an understanding of human life embedded in (...) material and discursive processes – without putting the potential productivity of the female body on the ideological pedestal of heterosexual maternity. (shrink)

Jenny Saville is a leading contemporary painter of female nudes. This paper explores her work in light of theories of gender and embodied agency. Recent work on the phenomenology of embodiment draws a distinction between the body image and the body schema. The body image is your representation of your own body, including your visual image of it and your emotional attitudes towards it. The body schema is comprised of your proprioceptive knowledge, your corporeally (...) encoded memories, and your corporeal proficiency with respect to various environments and activities. Saville is concerned with body image issues, and I discuss how she reconfigures representational practices with respect to feminine body images. However, the most exciting potential for feminist analysis of the state of the female nude derives from the concept of the body schema, for this concept endows the human body with subjectivity and agency. My key question, then, is by what pictorial means and to what extent Saville succeeds in representing agentic womanhood. I argue that interpreting Saville’s paintings from the standpoint of the body schema demonstrates the radicality of her remaking of the female nude and the rapport between her imagery and feminist values. (shrink)

,The Body and Representation. Feminist Research and Theoretical Perspectives' was conceived as two weeks program within the International Women's University's project area BODY by the Center for Feminist Studies (ZFS) at the University of Bremen and organized in summer 2000. The publication includes results from lectures and seminars and additional contributions adding to main topics. Among the issues raised are concepts, staging, performances and representations of bodies in everyday life, political contexts, art and new media.

Judith Butler’s idea of gender as performative (introduced in Gender Trouble and now a commonplace in feminist theory) is brought into dialogue with feminist performance art (exemplified by Valie Export, the Austrian media- and performance-artist). Butler’s claim that gender is performative and that it can be changed only through a parodic repetition of performative acts is revisited through the lens of Export’s subversive performance pieces. This “interaction” between theory and art practice shall highlight the political potential of Butler’s (...) work and serve to expand her notion of parody as it pertains more directly to women and the female body. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 10.1 (2003) 25-27 [Access article in PDF] Gender, Body, Meaning:Anthropological Perspectives on Self-Injury and Borderline Personality Disorder Carolyn Sargent THE CENTRAL THEMES OF "Commodity Body/Sign: Borderline Personality Disorder and the Signification of Self-Injurious Behavior" reflect issues that cut across the disciplines represented by this journal and have received increasing attention from anthropologists. Medical anthropologists, as well as psychological anthropologists and others interested (...) in symbolic analysis of the body, have addressed such topics as the culture of biomedicine and the cultural shaping of psychiatric classification, the multiple meanings of body modifications, power relations in therapeutic interactions between doctor and patient, and cultural variation in understandings of normality and abnormality.Curiously, there is little anthropological literature that directly focuses on either borderline personality disorder (BPD) or self-injurious acts per se. Indeed anthropological research on psychiatric diagnosis, classification, and treatment, as well as ethnopsychiatry, include scant reference to personality disorders. One exception is Nuckolls' 1992 article, "Toward a Cultural History of the Personality Disorders," which raises pertinent questions for one of Potter's introductory statements—that the majority of those diagnosed with BPD are women. Nuckolls directly addresses gender ideology and gender roles in the United States in his comparison of antisocial personality and histrionic personality diagnoses. In his paper, he argues that these personality disorders have cultural histories and are strongly congruent with prevailing gender stereotypes, such that men are many times more likely to be diagnosed as antisocial than women and women much more likely to be diagnosed as histrionic (Nuckolls 1992, 37). He also historicizes the emergence of certain behavioral styles that have been seen as characteristic of women and men, and the evolution of psychiatric diagnoses that classify extreme manifestations of these behavioral styles.The issue of why women, rather than men, are more frequently diagnosed with BPD is not elaborated in Potter's article, although she notes the importance of considering the intersection of gender and "identifying behaviors" associated with BPD. Cultural analyses of gender ideology in the [End Page 25] United States might suggest that the connection involves gendered expectations concerning emotionality and relational context but these articulations remain intriguing and underexplored. One might speculate that BPD/self-injury occurs in the context of particular gender ideologies, perhaps in class-based, industrialized societies where the body is highly commodified. It appears that the history of this constellation of symptoms and behaviors remains to be written.Cultural analysis of self-injury, a theme that runs through Potter's article, tends to be embedded in the anthropological literature on body ornamentation, initiation rituals, and "culture-bound" syndromes. Mascia-Lees and Sharpe (1992, 1) describe the body as "a site of adornment, manipulation, and mutilation," practices with roots reaching back as far as 30,000 years, and include as examples head deformation, scarification, foot binding, tooth filing, lip plates, nose rings, tattoos, subincision, and genital cutting.However, the concept of self-injury, as Potter notes, is problematic in the discipline of anthropology given the significance historically accorded to cultural relativism. Correspondingly, body "modification" is not "self-injury" as long as it is socially normative, for example, a facet of an initiation ordeal or body ornamentation (e.g., circumcision, scarification, piercing). Among the rare examples of acts that seem readily identifiable as "self-injury" are New Guinea practices of cutting off a finger to demonstrate mourning and Baatombu (West African) male finger amputation to show grief and anger over a wife's infidelity. Both are, however, considered culturally legitimate and not indicative of pathology.Potter's argument draws heavily on the notion of "body as text," derived largely from literary theory and feminist philosophy (Butler 1990; Jaggar and Bordo 1989). The perspective of "body as text" has influenced anthropological theory over the past two decades, particularly in the interpretive and postmodernist schools of thought. The body as a text of femininity is aptly characterized by Bordo, who argues that the continuum between female disorder and normal femininity is revealed by means of an analysis of symbolic meaning of gender in... (shrink)

The body, touch and its sensations are present, sometimes viewed in contradictory ways, both expressed, visualized, and rejected, in early modern art and literature. In seven essays moving from the 16th to the mid-18th century, and from Italy and Spain to France and Sweden, this volume explores strategies used by early modern women poets, philosophers, and artists in order to create subversive expressions of the body, gender and the senses. Showing how body and soul, the (...) carnal and the divine, the senses and the mind, could be represented as intertwined and dependent on each other in various ways, it gives due attention to European women writers and artists that in unconventional ways responded to the period's two main intellectual and philosophical attitudes - Epicurean and Stoic - towards the body and its senses. These attitudes not only intersect in the period's discussions of virtue and other moral phenomena, but are central to critical assessment of the relations between emotions, perception, and reason. By following this topic from a gender perspective, the book highlights other forms of subjectivity than the ones usually related to the early modern period's dominating subjectivation of female bodies, thinking and desires. (shrink)

This study analyses three scenes of female nudes in three Spanish films made in the first decade of the 2000s: The Naked Years by Dunia Ayaso and Félix Sabroso, Take My Eyes by Icíar Bollaín and Elegy by Isabel Coixet. It elucidates the ethical rules of engagement with the spectators the directors propose, particularly in regard to the commodification of the female body. The theoretical framework draws mainly from the work of the Spanish philosopher Fernando Savater (...) and approaches the subject matter from a feminist perspective. (shrink)

Philosophers and artists frequently make use of metaphors drawn from female bodily experiences of pregnancy and childbirth to express intellectual or artistic creativity. While philosophical and artistic originality are presented as a kind of spiritual pregnancy, women's bodily pregnancies are often presented as at best intellectually or spiritually insignificant, to be valued solely for their products — physical children. I contrast the view of pregnancy found in philosophers such as Plato and Nietzsche, and artists such as Chagall, with (...) an understanding of pregnancy influenced by feminist body art, and focus on the significance of the extent and pace of change that women experience during pregnancy. (shrink)

Literary art that is identifiably feminist approaches reality from a feminist perspective and endorses female experience. A feminist perspective demystifies patriarchal assumptions about the nature of human beings, their relation to nature, and the relation of physical and moral qualities to each other. To endorse female experience, the artist must defy or stretch traditional literary conventions, which often means offending or alienating readers. Traditional literary conventions are rooted in philosophical assumptions several thousand (...) years old and still widely current. A third principle of feminist art-which not all feminists subscribe to-is accessibility. When feminist art is difficult, the reason usually lies not in purposeful obfuscation, but in the poverty of our language of feeling, and the difficulty of rendering feeling. (shrink)

This article explores the potential applications of feminist pedagogy to the lived experience of weekly preaching from the perspective of a young, white, cis female, heterosexual faith community leader. When privilege is both obvious, but authority is simultaneously presumed and challenged based on historical constructs of theological role and presentation of gender, the act of preaching becomes a site of resistance. This article then discusses the act of homiletics – the art of interpretive storytelling, history teaching, (...) persuasive speech, and spiritual performance – as informed by a feminist perspective. Does the pulpit present a bridge or barrier where gender is concerned? The physical act of preaching can represent an in-moment incarnating of a role, a historical step in a long-flowing river, and a psychological break point of self-erasure. This article posits that a thoughtful application of feminist pedagogy might dismantle these unspoken rules of the trade and create an opportunity for preaching as an act of resistance. (shrink)

This essay aims to motivate a different way of reading Simone de Beauvoir's feminist philosophy than that which has become dominant in Beauvoir scholarship. I wish to argue that we can read Beauvoir as articulating what I will call a "feminist art of living." To substantiate this thesis, I highlight a crucial feature of her art of living—one that is connected to her reflections on the body—namely, what I refer to as Beauvoir's "sensualism." By "sensualism," I have (...) in mind a subjective experience of the body from an intimate, first-person perspective that is not derived from the body's appearance.Before delving into the idea of sensualism, let me preview the stages of my argument. I first discuss examples of how... (shrink)

The body is relevant for aesthetics from two perspectives. We experience and assess bodies aesthetically from the outside; and we have aesthetic experiences of and through our bodies from the inside. In experiences of one’s own body, these perspectives often intersect in interesting ways. From both perspectives, the body is a site where aesthetic and ethical considerations are deeply intertwined. This article includes discussion of Beauty and the Body, Aesthetic Body Practices, (...) Body Aesthetics and Gender Construction, Somatic Dimensions of Aesthetic Experience, and The Body in Contemporary Art. (shrink)

This book focuses on the significance of the body in contemporary feminist scholarship. Whether the body is treated as biological bedrock or subversive metaphor, it is implicated in the cultural and historical construction of sexual difference as well as asymmetrical power relations. The contributors to this volume examine the role of the body as socially shaped and historically colonized territory and as the focus of individual womenÆs struggles for autonomy and self-determination. They also analyze its centrality (...) to the feminist critique of male-stream science as dualistic, distanced, and decontextualized. While the body has become a "hot item" in contemporary social theory and research, the renewed interest has received a mixed reaction from feminists. The body may be back, but the "new" body theory often proves to be just as disembodied as it ever was. The body revival seems to be less an attempt to re-embody masculinist science than just another expression of the same condition that evoked the feminist critique in the first place: a flight from femininity and everything that is associated with it in Western culture. Drawing on insights from contemporary feminist theories of gender and power, this book offers a timely critical appraisal of the recent "body revival." Embodied Practices not only sets an agenda for research about the body, but for an embodied perspective on the body as well. It will be a valuable and thought-provoking resource for students of womenÆs studies, social theory, cultural studies, and medical sociology. (shrink)

New developments in biotechnology radically alter our relationship with our bodies. Body tissues can now be used for commercial purposes, while external objects, such as pacemakers, can become part of the body. Property in the Body: Feminist Perspectives transcends the everyday responses to such developments, suggesting that what we most fear is the feminisation of the body. We fear our bodies are becoming objects of property, turning us into things rather than persons. This book evaluates (...) how well-grounded this fear is, and suggests innovative models of regulating what has been called 'the new Gold Rush' in human tissue. This is an up-to-date and wide-ranging synthesis of market developments in body tissue, bringing together bioethics, feminist theory and lessons from countries that have resisted commercialisation of the body, in a theoretically sophisticated and practically significant approach. (shrink)

Resumen: En este artículo, desde la perspectiva del feminismo, a través del análisis de la herencia y la innovación de la poesía palaciega de Li Bai en su creación, la autora plantea dos técnicas y su síntoma en los tres poemas de Qingping Tune: heredar la sensacionalización del palacio -poesía de estilo e innovando en las técnicas mitológicas y legendarias de la poesía de estilo palaciego. A partir de estas dos técnicas, la inconsciencia del fetiche y la fantasía mitológica de (...) la diosa se revela a partir del “vacío” de la imagen misma, para lograr el efecto de investigación de un análisis integral de la ideología disciplinaria femenina en la literatura cortesana patriarcal de los aristócratas. (shrink)

Bodies in China uses Chinese philosophy to reframe Western scholarship on gender, body, and aesthetics. Does Confucianism rule out the capacity of women as moral subjects and hence as aesthetic subjects? Do forms of Chinese philosophy contribute or correspond to patriarchal Confucian culture? Can Chinese philosophy provide alternative perspectives for Western feminist scholars? The first section considers theoretical and philosophical discussions of Western traditions and how the ideas offered by Confucians and Daoists can provide alternative body ontologies (...) for critical feminist practices. The second section reviews female aesthetical representations ranging from The Book of Songs to the work of the controversial body artist He Chengyao. The third section traces changing perceptions of femininity from imperial to its current cosmopolitan era using a range of case studies including Ming dynasty literature, Hong Kong women's fashion in the 1960s, and the 2008 Summer Olympics in Beijing. Overall, this book discusses new conceptual models that feminist scholars are using to displace dualism and emancipate notions of the body from Cartesian models and metaphors. (shrink)

Introduction: Over the past twenty-five years the sporting body has been studied in a myriad of ways including via a range of feminist frameworks (Hall 1996; Lowe 1998; Markula 2003; George 2005; Hargreaves 2007) and gender-sensitive lenses (e.g. McKay 1994; Aoki 1996; Woodward 2008). Despite this developing corpus, studies of sport only rarely engage in depth with the ‘flesh’ of the lived sporting and exercizing body (Wainwright and Turner 2003; Allen-Collinson 2009) at least from a phenomenological (...) angle, and in relation to female embodiment. It seems that a more corporeally-grounded, phenomenological perspective on women’s sporting embodiment would be a welcome addition to extant studies. In this chapter I suggest that employing a feminist phenomenological framework can provide a powerful lens through which to explore the subjective, richly-textured, lived-body experiences of sport and exercise. Phenomenology of course offers only one of a multiplicity of avenues to investigate the body in sport, and this chapter provides just a small glimpse of its possibilities. To-date studies of sporting experience employing a phenomenological theoretical framework remain surprisingly under-developed (Kerry and Armour 2000), as do those using its ethnomethodological offspring (Coates 1999; Burke et al. 2008). Further, as Fisher (2000) notes, the significance of the interaction between phenomenology and feminism has only relatively recently begun to be explored. It seems timely, therefore, to address this intriguing, potentially productive, but sometimes uneasy nexus, focusing upon female running embodiment in this case. (shrink)

The book, which constitutes part of the current feminist research as broadly understood, deals in particular with issues related to the philosophical approach to women’s experience. The main thrust of the research is to ask questions such as: What is women’s experience? Is it generally possible to speak of women’s typical experiences? Does it influence knowledge, and if so, how? Does it influence women’s perception and interpretation of art, and if so, how? And finally, taking a broader perspective: (...) can women’s experience serve as a basis for distinguishing philosophical theories specific to women? Within the framework of feminist philosophy developed since the 1960s and 70s, researchers have employed the concept of women’s experience, but this concept has not yet been comprehensively elaborated and defined. Importantly, women’s experience also plays an essential role in the project of feminist esthetics, whose isolation from traditional esthetic reflection has been proposed by certain feminist authors. Therefore, the book also discusses the problem of the relationship of women’s experience in the feminist approach to the feminist esthetics postulated by researchers both male and female. The book takes the position that feminist philosophy is an integral part of traditional philosophical research, a part in which the feminist perspective is applied. This perspective is understood as a theoretical research tool, applied in the humanities and social sciences, in order to unmask the gender-related elements in traditional discourses and to determine their impact on the results of the conducted research, i.e., the knowledge obtained thereby. In this sense, the feminist perspective is of an evaluative and critical but also transformative nature, because the purpose of its application is to appreciate and highlight women and the phenomenon of womanhood as well as to incorporate gender-related categories within philosophical reflection and academic research. This goal is expressed in the practical demand for a transformation of sociopolitical practice and theory that takes women’s ways of experiencing reality into account. In this approach, the feminist perspective paradoxically brings us closer to the attainment of more universal, holistic, and gender-transcending knowledge. The order of the considerations presented in the book was dictated by their main objective: a philosophical approach to and description of women’s esthetic experiences. The first part comprises a reconstruction of the historical development of feminism, in which three waves of feminism―which, from the perspective of a contemporary researcher, constitute a historically complete field of research―are discussed in a synthetic manner. The first part of these considerations concludes the introduction to feminist philosophy, specifically through the reconstruction of selected critical arguments advanced by feminist researchers regarding the traditional theory of cognition. The second part of the book covers issues in the field of feminist philosophy. The considerations presented here are focused on the concept of women’s cognitive experience, of which women’s experience of an esthetic character constitutes a particular type. Hence, studies of feminist epistemology are presented first, followed by studies of feminist esthetics. Analysis of the esthetic experiences of women is carried out in two stages: first, through reference to a philosophical approach to women’s cognitive experiences, and second, on this basis, through indicating fundamental differences between feminist and androcentric understandings of esthetic experiences. Although critical references to feminist ideas and solutions appear in many places in the book, on the most general level the considerations presented here are consistent with the feminist ideal of merging theory and practice. Feminism, in essence, has grown from socio-political practice and evolved toward detailed philosophical and scientific theories. Importantly, these theories are continually being revised and creatively developed. Feminist researchers refer to women’s life practices because it is the latter that determines whether a given theory adequately addresses problems affecting women. Therefore, the research presented in the book is focused on women’s experiences, which, in the author’s opinion, constitute the reference point for any and all reflections taking the feminist perspective into account. -/- . (shrink)

In this article I construct a feminist notion of social citizenship from early twentieth-century feminism in the United States. Arguing that there are four aspects to the interconnection between women's citizenship and social democracy-new modes of citizenship, a socialized view of rights, new spaces for participation, and a female-privileged definition of gender equality-I suggest that such a concept could help us move from a welfare state to a feminist social democracy.

We critically analyze four images of female Paralympians posing nude in ESPN The Magazine’s Body Issue from the years 2009, 2010, 2012, and 2014. Past literature shows that media portrayals of female Paralympians emphasize esthetically pleasing bodies, able-bodied images and asexualization. Weaving’s continuum of sexual objectification was applied to assess the varying degrees of sexual objectification showcased within each image. From a feminist perspective, discourses of heteronormativity and ableism were applied to outline the (...) concerns with female Paralympic representation in The Body Issue. We argue that by normalizing disability and sexual objectification, woman athletes are trivialized. (shrink)

This paper engages with the artistic practice and work of Vanessa Dion Fletcher from my perspective as a non-Indigenous academic and curator. Dion Fletcher and I have worked together over the past several years through discussions about her work, studio visits, and various events. In her art practice, Dion Fletcher uses porcupine quills and menstrual blood to inquire into a range of issues and concepts including Indigenous language revitalization, feminist Indigenous corporeality, Land as pedagogy, decolonization, and neurodiversity. (...) In particular her work confronts the ways that Indigeneity, the queer and gendered body, and disability are rendered expendable. In this paper I engage with Dylan Robinson’s “sovereign sense”: a transcorporeal mode of perception that is affective, land-based, and formed through relations between human and non-humans. Dion Fletcher’s work makes palpable this sense of sovereignty through its unruly and mutating feltness. Further, her work makes visible feminist Indigenous artistic acts of resurgence alongside the frictions at the intersections of settler colonialism and disability. Following Karyn Recollet, I contend that Dion Fletcher’s work activates an Indigenous affective experience of futurity and creative intimacy that in turn imagines disability and Indigeneity as sites through which new pedagogical relations can be formed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 45, no. 1. © 2019 by Feminist Studies, Inc. 129 Miriam Kienle Dear Data: Feminist Information Design’s Resistance to Self-Quantification Every Sunday for one year, information designers Giorgia Lupi and Stefanie Posavec sent each other a hand-drawn postcard that featured a data visualization of their week as it pertained to a single aspect of their daily lives: doors opened, clocks checks, sounds heard, smells (...) perceived, and so on (figs. 1–4). With this series of postcards exchanged between Brooklyn and London, Lupi and Posavec gained intimate knowledge of one another through their small/slow data, and at the same time, they produced a critical examination of the capture, interpretation, and visualization of their daily data from a uniquely feminist perspective. Although the field of information design prizes clear, efficient, and seamless presentations of quantified activity, Lupi and Posavec’s Dear Data (2015) is comprised of visualizations that underscore complexity over clarity, present questions rather simply display information, and expose the instability of data itself.1 Against the quantification of embodied experience into seemingly objective and all-encompassing datasets, Dear Data instead looks at data from a feminist perspective, as tied to concrete bodies, localities, and temporalities and visualized in a manner 1. The approach to infographics that prioritizes efficiency, accuracy, and elegance, and thus suppresses the constructed and interpretative nature of both data and its visualization, is perhaps most attributed to Edward Tufte. For Tufte’s aims and methods, see Edward R. Tufte, The Visual Display of Quantitative Information (Cheshire, CT: Graphics Press, 2001). 130 Miriam Kienle that is incomplete, contingent, and constructed.2 This paper will analyze Lupi and Posavec’s designs as providing a model for a feminist approach to data visualization—a model imperative in an age in which the quantitative information (much like a binary understanding of gender) is too often treated as a self-evident fact rather than what feminist philosopher Donna Haraway famously called “situated knowledges.”3 Recently acquired by MoMA’s architecture and design collection, the Dear Data project not only stands out in the collection as the product of two female designers working in the male-dominated fields of technology and design, but also as a project that stresses feminist knowledge production by underscoring how data voids shape datasets and debunking the myth that the world is data that can be captured and visualized with neutral, distanced, and all-encompassing technologies of vision. As Catherine D’Ignazio and Lauren Klein describe in Data Feminism, data visualization from a feminist perspective understands that “bar charts might seem neutral and objective, but are in fact the result of very human and necessarily imperfect design processes.”4 Such a perspective is evident across Dear Data. Take, for example, “Week 42: A week of laughter” (fig. 5). On the key in Posavec’s visualization, she notes: “I tried to capture my laughs which was really hard + got in the way of the enjoying life, hence the data voids. / For a card about laughter I am sad about how this card turned out.”5 This willingness to show the gaps in her data, the complexities of her process, and the imperfections of her visualizations contrasts with the seamless and straightforward displays of information 2. For a feminist approach to data visualization, see Catherine D’Ignazio and Lauren Klein, Data Feminism (Cambridge, MA: MIT Press, 2019), ebook; Catherine D’Ignazio, “What Would Feminist Data Visualization Look Like?” Center for Civic Media. Massachusetts Institute of Technology (blog), December 20, 2015, https://civic.mit.edu/feminist-data-visualization; and Johanna Drucker, Graphesis: Visual Forms of Knowledge Production (Cambridge, MA: Harvard University Press, 2014). 3. Donna Haraway, “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective,” Feminist Studies 14, no. 3 (1988): 575–99. 4. D’Ignazio and Klein, introduction to their Data Feminism. 5. Giorgia Lupi and Stefanie Posavec, Dear Data (New York: Princeton Architectural Press, 2016), 231. Miriam Kienle 131 or what infographic guru Edward Tufte describes as “Designs so good that they are invisible.”6 Counter to the invisible and seemingly objective visualizations of our personal data to which we have become accustomed (on calorie counters, credit card statements, etc... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Speculative Philosophy 17.1 (2003) 73-75 [Access article in PDF] Retrieving Experience: Subjectivity and Recognition in Feminist Politics. Sonia Kruks. Ithaca and London: Cornell University Press, 2001. Pp. xii + 200. $35.00 h.c. 0-8014-3387-8; $16.95 pbk. 0-8014-8417-0. Sonia Kruks' latest book, Retrieving Experience, is a valuable contribution to ongoing debates about the relevance of feminist philosophy in a period of relative political quietism. It also (...) offers timely reminders of historical continuities between phenomenological and postmodern conceptions of subjectivity and political engagement. Drawing on Merleau-Ponty, Beauvoir, Fanon, and the later Sartre, Kruks proposes to "explore women's embodied experiences" and to "ask whether they might not offer some means to help build affective bonds among women who are in many ways radically different from one another" (6). The book approaches this task by means of two secondary issues. First, should feminist thought be oriented by phenomenological or postmodernist theoretical strategies? Second, can women's embodied experience be the conceptual basis for political and epistemological practices that avoid the pitfalls of "identity politics" or an "epistemology of provenance"? The answer to both questions comes through the notion of praxis developed in Sartre's Critique of Dialectical Reason. By thinking of embodiment as praxis or work, a strategy implicit in Beauvoir's idea that "one is not born, but rather becomes, a woman." Kruks seeks to resolve the ethical affront of finding one's individuality reduced to the "generality" of a collective—the ethical affront to which feminists of various generations and theoretical persuasions must respond.Retrieving Experience explores the significance of recognition as a political norm. Identifying Sartre's Anti-Semite and Jew as a pivotal work in the history of identitarian theorizing, she situates recent appeals for race- and gender-based political mobilization in the United States with respect to the dialectical relationship between the Look, shame, and recognition existentialists observed in situations of anti-Semitic and colonial domination during and immediately after the Second World War. Legitimating knowledge gained under oppressive conditions formed an important element of African, Southeast Asian, and ultimately African-American and feminist resistance to cultural imperialism. However, Kruks warns, discourses of "recognition" risk placing the blame for group domination on individuals' face-to-face interactions while concealing the role of state and economic institutions in enabling social disdain to systematically damage a group's quality of life. Moreover, they suggest that the experience of subjugation alone justifies knowledge claims or counts, without further elaboration, as an act of political engagement. Kruks argues that knowers and actors need to identify conceptual and practical mediations enabling individual interactions, experiences, and strategies to prompt the recognition and transformation of [End Page 73] group situations. Sartre's notion of praxis, she suggests, explains how an individual can participate in a collectivity while acting autonomously or acquiescing to subjection.The most important passages in Retrieving Experience examine the affective aspects of the decision to take up a political identity or engage in political action. Going beyond Sartre's account of mediations, Kruks suggests that the sensory and emotional qualities of embodiment are themselves mediators, the products of praxis as well as its vehicles. Since any act of social knowledge involves the emotions, affect plays an important role in the process whereby individuals from different cultural, economic, and bodily situations learn about and shape one another's' environment through the act of knowledge. Individuals, then, may have a moral responsibility to learn about others in a way that gives them "sympathetic bodies." Drawing on Maria Lugones' social epistemology, Kruks argues that "world-traveling" or existing simultaneously in several communities or sets of power relations is a bodily act, but also a fully cultural, ethical act rather than a natural way of being. One is not born, but becomes, an embodied knower. Understanding female embodiment as a kind of work or "world-traveling" praxis enables feminist solidarity—"respectful recognition" to replace a historically implausible "sisterhood" or a distinct epistemological perspective as a regulative ideal for feminist politics.But how far can the... (shrink)

The dominant view of women has changed radically during the last century. These changes have had an important impact on the way of life of women in general and, undoubtedly, on women as patients. So far, gender differences have received little attention when developing healthcare services. Stroke hits a great number of elderly women. Wyller et al. found that women seemed to be harder hit by stroke than men; they achieved lower scores in tests of motor, cognitive and ADL functions, (...) both in the acute phase and 1 year after stroke. It is reasonable to expect that differences in outcome among male and female sufferers may in part be explained by the fact that rehabilitation services are designed primarily to meet the needs of men. de Beauvoir's feminist theory maintains that one's body is fundamental in creating the person, which is a lifelong process. Traditionally, the female body has been exposed to alienation and oppression through life. This has led women to develop a life in immanence. This we feel can be of significance in connection with rehabilitation after a stroke, particularly for elderly women. In this article we will discuss how de Beauvoir's theory can throw new light on the experiences and rehabilitation of elderly women and point to ways of improving the process of rehabilitation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface At a time when access to safe abortions is being curtailed in the United States under the pretext of a response to the COVID-19 pandemic, this Feminist Studies issue focuses on abortion and women’s embodiment. The essays by Melissa Oliver-Powell, Rachel Alpha Johnston Hurst, and Jennifer L. Holland each contribute new approaches to the stillvexed topic of abortion, positioning movements for abortion access in relation to historical (...) and ecological change. Two collaboratively written essays, by South American authors María Fernanda Olarte-Sierra and Tania Pérez-Bustos, and by North American and European authors Laura Bisaillon with six colleagues, both center the body within feminist labor, exploring how the embodied experience of work can also be a site of knowledge-making. Other authors push us to move beyond humanistic understandings of affect and the body in feminist work, as Nathan Snaza shows in a review essay of four recent books engaging “Biopolitics without Bodies.” Poems by Rosetta Marantz Cohen, Darlene Taylor, and Abby Minor also feature experiences of bodily violence and bodily pleasure, while Ellyn Weiss discusses the distinctive representations of bodies in the visual art of Swedish-American artist Anna U. Davis. To close the issue, two News and Views pieces by Pang Laikwan and Sealing Cheng on the recent protest movement in Hong Kong provide two complementary perspectives on living through tumultuous political times. Our next issue will include content directly focused on the COVID-19 pandemic. In the first essay, Melissa Oliver-Powell’s “Beyond the Spectacle of Suffering: Agnès Varda’s L’Une chante, l’autre pas and Rewriting the Subject of Abortion in France” addresses the complexities of anti-​ abortion 8 rhetoric in France. Placing Varda’s 1977 film in the historical context of French nationalistic anxiety about low birthrates in the twentieth century, Oliver-Powell argues that the film deconstructs polarized narratives about abortion. While dominant cultural representations of abortion typically depicted it as the result of female irresponsibility or traumatic victimization, Varda’s film rejects the binary concepts of villain and victim and questions the presumption that women always suffer when exercising their reproductive choice. Oliver-Powell situates Varda alongside the 343 eminent French female cultural leaders who composed a famous 1971 Manifesto publicly declaring themselves criminals for having had illegal abortions and presents simultaneous histories of French feminism and French cinema. Varda’s film constructs a feminist representation of abortion that avoids foregrounding women ’s suffering and instead emphasizes empowerment and solidarity. Its narrative features two women friends, both treated unjustly by France’s abortion laws, who participate in the movement for reform over a fourteen -year span. Varda represents the interplay of motherhood with women ’s lives as a continuum, not a disruptive episode, and she blends documentary -style devices with imaginative musical interludes: she shows actual women seeking abortions in Holland and includes songs about abortion, pregnancy, and motherhood. Oliver-Powell claims that Varda dramatizes unprecedented representations “of female friendship without pathology, of abortion without guilt, death or persecution, of motherhood without objectification....” A second essay, Rachel Hurst’s “Abortion as a Feminist Pedagogy of Grief in Marianne Apostolides’s Deep Salt Water,” proposes that the championing of women’s reproductive rights could better account for the context of difficult emotions and an imperfect world. Hurst uses reproductive justice approaches to critique simplistic rights-based arguments for abortion, premised on liberal concepts of choice and autonomy, which fail to understand the material conditions of poor women and especially women of color. Such analyses emphasize the necessity of rights discourses that include the right to bear and parent one’s own children free from violence and economic hardship, and they advocate the transformative possibilities of acknowledging rather than suppressing women’s ambivalence about their own abortions as well as others’ choices. Hurst describes a collaboration between two contemporary Canadian feminists, writer Marianne Apostolides and visual artist  9 Catherine Mellinger, in their mixed-media text, Deep Salt Water, which is organized according to the weeks of a pregnancy and the aftermath of its termination. Rather than falling back into familiar polarizations for and against “choice,” they use the story of Apostolides’s abortion seventeen years earlier... (shrink)

The Feminist Perspectives Series seeks to provide concise, accessible and engaging introductions to key feminist topics and debates. The texts in the series are designed to be used on a wide range of courses touching feminist issues and are written by experienced teachers who are also well known in their respective fields. Each book in the series includes the most up-to-date statistics, research data, key sources and suggestions for further reading. _Feminist Perspectives on Sociology _examines how sociology (...) has been transformed under the influence of feminism in recent years. This transformation consists both of a critique of established areas and the opening up of new ones. Areas and issues covered include approaches to knowledge and research, patriarchal relations, work in and outside the home, body politics, sport and fitness, migration, violence, the state, and globalisation. The book also reviews a range of ‘post’ perspectives and arguments including postmodernism, postcolonialism and postfeminism. Feminism is also a transformative social movement. Its political impact, from local to transnational levels, has to be taken into account in assessing developments in sociology, providing it with a connection between research and action. Key features Provides a comprehensive and accessible introduction to feminist perspectives in sociology Discusses and assesses sociological and feminist theories in relation to case studies Covers a wide range of current issues that will interest readers from many disciplinary backgrounds Includes end of chapter summaries, suggestions for further reading and a glossary of key terms Barbara Littlewood is Lecturer in Sociology, University of Glasgow. (shrink)

This is the first book to examine the Subtle Body- a model of subjectivity found in esoteric, eastern and western religious and philosophical traditions from a transdisciplinary and cross-cultural perspective. It considers this radical form of self as enabling an innovative reconsideration of the dualisms at the heart of western discourse: mind-body, divine-human, matter-spirit, reason-emotion, I-other. Emerging from this consideration is an interrelated aestheticethic that promotes an understanding of embodiment that is not exclusively tied to (...) materiality. This perspective posits an individual as inherently intersubjective, creative and open. It presents subjectivity as relation: a dynamic relation that does not erase individuality while being inclusive of relations with radical alterity. The text considers subtle bodies as found in various traditions including Yoga and Tantra traditions, The Theosophical Society, Renaissance Hermeticism, Sufism and even within the work of contemporary philosopher Luce Irigaray. Conceptual interrelations are traced across the disciplines of religion, philosophy and art history/theory, with a particular focus on its relevance to contemporary feminist religious studies/philosophy, mysticism and theories of desire. (shrink)

A long and scholarly piece by Eva Kitt WahMan covers the history of Chinese conventionsgoverning female “beauty” from Confuciusthrough Maoism to the present day. Classicalmanuals provide highly specific requirements forcourtesans and concubines. The shrunken, pulpyappendages produced by foot-binding practiceswere regarded as the most sexually stimulatingfeatures of the female body. In 1949, following theinauguration of the Communist regime, womenwere expected to shun ornament and make-up, tohave short hair, wear party uniforms, and to lookas much like men as (...) possible. The ideal for thecontemporary Chinese woman is quite a lot likethe ideal for the courtesan of tradition, but the de-tails are drawn from western fashion magazines.Wah believes that such liberation, although it hasits advantages, is mainly nominal and fosters con-fusion. She writes: “Although Chinese womentoday are developing new self-confidence, they donot seem to be aware of the fact that one can be-come a slave of the fashion industry, which merelyrepeats the bodily constraints of past times in anew form” (p. 194). [review by Mary Mothersill, 2001 - Journal of Aesthetics and Art Criticism 59 (2):211-214.]. (shrink)

Abstract:Ecofeminists have called for adding an ecological dimension to gender research to address various forms of oppression that women experience in their daily lives and to explain how feminine exploitation of the planet results from the same logic of patriarchal domination. Now that the flow of essentialism-phobia (Field 2000, 39) has decreased, it seems that it is time to deal with the risky topic of the body in ecofeminist research and theory to make it more central in (...) class='Hi'>feminist epistemologies. Yet feminist theory needs to avoid repeating the past mistakes in theorizing embodiment from an ecofeminist point of view and pay proper attention to the questions of difference and diversity: whose body is being discussed and generalized? This paper builds upon the postcolonial ecofeminist perspectives of embodiment and highlights the diversity of lives and experiences of living in Others of cisgender heterosexual male bodies with a focus on covered raced body. (shrink)

Feminism is the movement to end women’s oppression. One possible way to understand ‘woman’ in this claim is to take it as a sex term: ‘woman’ picks out human females and being a human female depends on various anatomical features (like genitalia). Historically many feminists have understood ‘woman’ differently: not as a sex term, but as a gender term that depends on social and cultural factors (like social position). In so doing, they distinguished sex (being female or male) (...) from gender (being a woman or a man), although most ordinary language users appear to treat the two interchangeably. More recently this distinction has come under sustained attack and many view it nowadays with (at least some) suspicion. This entry (around 12 000 words in length) outlines and discusses distinctly feminist debates on sex and gender. (shrink)

Despite several decades of feminist activism and scholarship, women’s bodies continue to be sites of control and contention both materially and symbolically. Issues such as reproductive technologies, sexual violence, objectification, motherhood, and sex trafficking, among others, constitute ongoing, pressing concerns for women’s bodies in our contemporary milieu, arguably exacerbated in a neoliberal world where bodies are instrumentalized as sites of human capital. This book engages with these themes by building on the strong tradition of feminist thought focused on (...) women’s bodies, and by making novel contributions that reflect feminists’ concerns—both theoretically and empirically—about gender and embodiment in the present context and beyond. The collection brings together essays from a variety of feminist scholars who deploy diverse theoretical approaches, including phenomenology, pragmatism, and new materialisms, in order to examine philosophically the question of the current status of gendered bodies through cutting-edge feminist theory. (shrink)

InBelief, Bodies, and Being, thirteen distinguished contributors present diverse and illuminating viewpoints on feminist issues of embodiement, materialism, and agency from feminist and postmodernist philosophical perspectives.

The essays in Object-Oriented Feminism explore OOF: a feminist intervention into recent philosophical discourses--like speculative realism, object-oriented ontology (OOO), and new materialism--that take objects, things, stuff, and matter as primary. Object-oriented feminism approaches all objects from the inside-out position of being an object too, with all of its accompanying political and ethical potentials. This volume places OOF thought in a long history of ongoing feminist work in multiple disciplines. In particular, object-oriented feminism foregrounds three significant aspects of (...) feminist thinking in the philosophy of things: politics, engaging with histories of treating certain humans (women, people of color, and the poor) as objects; erotics, employing humor to foment unseemly entanglements between things; and ethics, refusing to make grand philosophical truth claims, instead staking a modest ethical position that arrives at being "in the right" by being "wrong." Seeking not to define object-oriented feminism but rather to enact it, the volume is interdisciplinary in approach, with contributors from a variety of fields, including sociology, anthropology, English, art, and philosophy. Topics are frequently provocative, engaging a wide range of theorists from Heidegger and Levinas to Irigaray and Haraway, and an intriguing diverse array of objects, including the female body as fetish object in Lolita subculture; birds made queer by endocrine disruptors; and truth claims arising in material relations in indigenous fiction and film. Intentionally, each essay can be seen as an "object" in relation to others in this collection. Contributors: Irina Aristarkhova, University of Michigan; Karen Gregory, University of Edinburgh; Marina Gržinic, Slovenian Academy of Science and Arts; Frenchy Lunning, Minneapolis College of Art and Design; Timothy Morton, Rice University; Anne Pollock, Georgia Tech; Elizabeth A. Povinelli, Columbia University; R. Joshua Scannell, CUNY Graduate Center; Adam Zaretsky, VASTAL. (shrink)

As we live in a culture where “everything can be commodified, measured and calculated and can be put in the competitive market for sale, detached from its roots and purpose,” there is need to redefine our humanness in terms of the changing nature of science, technology, and their deeper impact on human life. More than anything else, it is Information Technology that now has tremendous influence on all spheres of our life, and in a sense, IT has become the (...) destiny of our life. And this is where the real trauma lies. On the one hand, our being in the cyberspace opens up new and exciting horizons before us; on the other hand, we ourselves are changed and transformed in the process. The virtual world transforms human users to a problem-solver technocrat. The speed at which Information Technology is changing the way that youth around the world are socializing, playing, and researching, it is the common practice now for a 15-year old to go home and update their MySpace page, followed by playing online games, or looking up the new trendy YouTube video. These forms of technology are often the topic of adolescent conversations as YouTube, blogs, e-magazines, Face book, MySpace, iPhones, and iPods dominate the commercial and social networking market. Some researchers refer to this phenomenon as ubiquitous technology drawing attention to the fact that ubiquitous technology acknowledges the speedy adoption of day-to-day use of technology as a global phenomenon. In this background, this article aims at revisiting the question, “What is to be human in the era of Ubiquitous Technology?” From a feminist perspective, one can still redefine the boundaries between femininity and masculinity in the context of IT and its impact on our lifestyle and thought style. While examining the ways in which our definitions of “woman” and “man” are shifting in this new communication environment, Elizabeth Lane Lawley observes that we cannot fix a single center from which the experiences of women with computer and communication systems can be viewed and that such fixity would only serve to deepen inequities rather than exposing and removing them. She finally submits, “It is possible to use new theoretical perspectives on the shifting boundaries of gender definitions to rethink a previously deterministic view of the effect of new technologies on society, and particularly the effect of those technologies on women. While the gradual absence of the subject from the field of Artificial Intelligence leads to the invisibility of feminine care along with social and relational nature of man, some feminists dismiss the biological sex distinction on such issues and encourage females to ‘imitate man’ and to become more aggressive, assertive and dominating” (Lawley 1993 ). What are the possible impacts of this new technology on the so-called feminine traits of our human nature? How far our definitions of “woman” and “man” are shifting in this new communication environment? This is what this article seeks to explore. (shrink)

Disabled women were absent for many years from the discipline that has become known as women and gender studies. This field of study had its origins in the late 1970s following the second wave of feminism. In the latter decades of the twentieth century, disabled women and their allies introduced the necessary task of exploring disabled women's embodiment to the wider feminist community. A wealth of research now exists that incorporates disabled women's bodies into a range of disciplines: (...) from literature, film, art, social sciences, geography, and the environment to many other areas of scholarship. Indeed, many of the themes covered in this special issue have been addressed in different contexts in the disciplines .. (shrink)

Yetta Howard's queer-radical monograph Ugly Differences: Queer Female Sexuality in the Underground presents in its four chapters and conclusion a critical discussion of queer radicality in underground art productions. The chapters engage with Slava Tsukerman's camp cult movie Liquid Sky, Sapphire's poetry, Roberta Gregory's and Erika Lopez's comics, A. L. Steiner and Narcissister's collaborative art installation Winter/Spring Collection, and New Queer Cinema's High Art. In this volume, Howard unearths a spectrum of aesthetic pleasure derived from survival and self-destruction, (...) to tragic romance and kink intimacies. In all the material that Howard chooses for her discussions, “ugliness” enacts a powerful, political premise, which makes this book not only a captivating manifesto of queer punk aesthetics but also a thoughtful exploration of the importance of subcultural, queer-feminist politics antagonizing the norms of mainstream LGBT inclusion politics and homonormative pink-washing tendencies. Ultimately, as the key term of this volume, “ugliness” unfolds in the chapters, specifically in the analogy of three textual elements: as the “disagreeable and pejorative traits” conventionally attributed to queerness (2); a critique of the abjection and stigmatization of all bodies outside of the Western norms of white, able-bodied, cis masculinity (2); and third, as the angry, creative, punk, and anti-aesthetic textual practices of subcultural queer life (2). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, (...) and was preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

Resumo: O setor de vestuário trouxe novas chances de desenvolvimento ao mercado, como resultado do avanço da sociedade e da expansão da cultura e da arte. Além de ter alto valor decorativo, como sua extensão e ampliação, o desempenho do vestuário também pode existir, independentemente, como uma arte. No entanto, ao moldar a imagem artística do desempenho do vestuário, o foco principal concentra-se na apresentação de imagens externas, sem a expressão das características rítmicas e conotativas dos movimentos corporais, o que (...) não apenas enfraquece o efeito visual do desempenho, mas também afeta sua integridade e continuidade. Portanto, compreender a relação entre o desempenho do vestuário e o corpo e promover sua integração e penetração mútuas são de grande valor e importância, para o desenvolvimento atual da arte visual. A filosofia do corpo é uma disciplina filosófica que explora o corpo e as experiências corporais. Ela preocupa-se com a maneira como o corpo percebe e existe. Isso pode encorajar atores e figurinistas a considerarem como as roupas moldam e comunicam a identidade social e pessoal, além de observarem como a performance do figurino pode explorar a diversidade e a mudança de identidade. O presente artigo explica a relação entre o corpo e a estética, com base na história do desenvolvimento, na função e no valor do desempenho das roupas, combinados com a teoria da filosofia do corpo, a fim de estudar mais profundamente a relação entre o desempenho do vestuário e o corpo, de sorte a aumentar a eficácia do desempenho do vestuário. Do ponto de vista da filosofia do corpo, trata-se de um fator indispensável no desempenho do figurino. Este, por sua vez, pode alcançar a expressão artística do corpo, sendo que ambos interagem e se promovem. A íntima relação entre os dois tem importância significativa para o alcance de níveis mais elevados de representação visual, no desenvolvimento das atividades estéticas. (shrink)