This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.

Over three decades, Gillian Howie wrote at the forefront of philosophy and critical theory, before her untimely death in 2013. This interdisciplinary collection uses her writings to explore the productive, yet often resistant, interrelationship between feminism and critical theory, examining the potential of Howie's particular form of materialism. The contributors also bring to this debate a serious engagement with Howie's late turn towards philosophies of mortality, therapy and 'living with dying'. The volume considers how differently embodied subjects are positioned (...) within public institutions, discourses and spaces, and the role of philosophy, art, film, photography, and literature, in facing situations such as sexual oppression and life-limiting illness. (shrink)

Art and Interpretation is a comprehensive anthology of readings on aesthetics. Its aim is to present fundamental philosophical issues in such a way as to create a common vocabulary for those from diverse backgrounds to communicate meaningfully about aesthetic issues. To that end, the editor has provided selections from a wide variety of challenging works in aesthetic theory, both classical and modern. The approach is often cross-disciplinary. Within the discipline of philosophy it seeks to balance readings from the analytic (...) tradition with continental European, hermeneutical postmodern (including deconstructionist), and feminist readings. The anthology is thus broadly conceived, but by grouping the readings into sections such as ‘Expression and Aesthetic object,’ ‘Psychology and Interpretation,’ ‘Marxist Theory,’ and ‘Culture, Gender, and Difference,’ it aims as well to provide depth of coverage for each topic or issue. The book opens with a historical section containing substantial selections from Plato, Aristotle, Hume, Kant, Shelley and Nietzsche; these readings introduce themes that recur and are developed in the remainder of the anthology. (shrink)

Researchers in the areas of prehistoric art, anthropology of art, psychology, philosophy, feminist art theory, histories of visual arts education, and the emerging field of neuroaesthetics have created new interest within education in the writings of John Dewey related to art and experiential learning as found in Art as Experience and Experience and Nature. Thus, another look at Dewey’s life experience and his philosophy of experiential art may bring renewed support for visual arts education in the twenty-first (...) century. Dewey has influenced the public education system through his philosophy of experience and his less well-known theory of aesthetics. The definition that Dewey provided for education centers on the.. (shrink)

Describes what the author sees as a suppression of the feminine in Western culture, technology, and philosophy and opens a feminist postmodern space from which fresh differences may emerge. This title explores underdeveloped themes in American and Canadian feminism. It offers a deconstruction of the phallocentric dichotomies of nature and culture.

93 Categories of Art -- 94 The Role of Theory in Aesthetics -- 95 Art and Natural Selection -- 96 Feminism in Context -- Contributors.

In lieu of an abstract, here is a brief excerpt of the content:Meeting the Great Bliss Queen: Buddhists, Feminists, and the Art of the SelfBrian KarafinMeeting the Great Bliss Queen: Buddhists, Feminists, and the Art of the Self. By Anne Carolyn Klein. Boston: Beacon, 1995. 307 pp.“When the iron bird flies and carriages run on wheels, the dharma will come to the land of the red man”: this saying attributed to the semilegendary founder of Buddhism in Tibet, Padmasambhava, stands as (...) an oft-cited marker for the sense that the meeting between Tibetan Buddhism and North American culture was somehow a [End Page 227] fated one, a confluence emergent from some karmic relationship or mythical dependent-arising. Karmic connection or historical product of the near-simultaneous exile of Tibetans from their homeland in 1959 and the burgeoning of Western interest in Eastern religions and philosophies, the encounter of these two mutually and exotically other traditions is, nearing the second Christian millennium, proceeding apace. Especially since the 1989 awarding of the Nobel Peace Prize to the spiritual and temporal leader of the Tibetans—and now international pop icon—the Fourteenth Dalai Lama, the Western fascination for things Tibetan has exponentially increased, transforming what had been the preserve of scholars and eccentric spiritual seekers into a media sensation.The reception of Tibetan Buddhism in the West has proceeded in stages and phases that overlap and mutually affect each other, from pop phantasms of Tibet as a mythical Shangri-La (as in James Hilton’s Lost Horizon) and theosophical hopes in Tibet as the domain of the Wise Mahatmas overseeing the spiritual evolution of humanity to the relatively recent development of Tibetan studies as an academic discipline centered on the translation of texts, as well as the growing population of westerners practicing Tibetan Buddhist religion under the guidance of exiled lamas. With these latter two groups—scholars and practitioners who often overlap memberships—the phenomenon of Tibetan Buddhism in the West has reached a point where critical self-reflection is now possible. Donald Lopez’ recent Prisoners of Shangri-La: Tibetan Buddhism and the West is the first full-length critical examination of the cultural confluence I’ve been noticing thus far. Lopez represents a movement in the field of Tibetan studies from philological scholarship of texts, in which the scholarly effort consists largely of translation along with commentary that closely follows the commentarial literature of the Tibetan tradition being translated, to cultural criticism of the underlying dynamics in the encounter itself.This critical self-consciousness in the field of Tibetan studies is likewise the motivating impetus behind Anne Klein’s recent work as represented by the book under review here. Klein, like Lopez, was a student of the dean of American Tibetan studies, Jeffrey Hopkins, at the University of Virginia. As such, her early work followed Hopkins in pursuing an essentially philological approach to Tibetan tradition with a focus on the philosophical scholasticism of the Gelukpa lineage. Klein’s three philological-philosophical books—Knowledge and Liberation; Knowing, Naming, and Negation; and Path to the Middle—are excellent examples of the genre of translation/commentary above mentioned, treating the Sautrantika and Madhyamika tenet systems in which the Gelukpa tradition systematized Indian Buddhist philosophy for the purposes of monastic study and debate. Meeting the Great Bliss Queen is something else entirely; in this work Klein blazes a trail out from recondite translation work toward cultural critique and psychosocial self-reflection in which the previously submerged subtext of the encounter between the Tibetan tradition and the Western psyche and society is allowed to surface and its issues probed and reflected upon.Klein frames her work in terms of a dialogue between Buddhism (by which she mainly means meditation practices and some associated philosophy) and feminism (by which she means both academic feminist theory and her own autobiographical [End Page 228] experience as a Western woman personally experiencing the confluence of Western and Tibetan exigencies). Klein is a salient example of a scholar-practitioner, someone who occupies positions both in the academic field of Tibetan studies and in the population of students of Tibetan lamas in exile. As such, she is exactly situated to embark on such a project of cultural and psychological reflection. She knows... (shrink)

The past twenty five years have seen an explosion of feminist writing on the philosophical canon, a development that has clear parallels in other disciplines like literature and art history. Since most of the writing is, in one way or another, critical of the tradition, a natural question to ask is: Why does the history of philosophy have importance for feminist philosophers? This question assumes that the history of philosophy is of importance for feminists, an assumption (...) that is warranted by the sheer volume of recent feminist writing on the canon. This entry explores the different ways that feminist philosophers are interacting with the Western philosophical tradition. (shrink)

This volume of specially-commissioned essays provides accessible introductions to all aspects of George Eliot's writing by some of the most distinguished new and established scholars and critics of Victorian literature. The essays are comprehensive, scholarly and lucidly written, and at the same time offer original insights into the work of one of the most important Victorian novelists, and into her complex and often scandalous career. Discussions of her life, the social, political, and intellectual grounding of her work, and her relation (...) to Victorian feminism provide valuable criticism of everything from her early journalism to her poetry. Each essay contributes to a new understanding of the great fiction, from Adam Bede and The mill on the floss to Daniel Deronda. With its supplementary material, including a chronology and a guide to further reading, this Companion is an invaluable tool for scholars and students alike. (shrink)

In the paper, I pose the question of how, on artistic, aesthetic, and philosophical levels, decoration and domestic handicrafts as subversive strategies enable the undermining and breakdown of class-based and patriarchal divisions into high and low, objective and subjective, public and private, masculine and feminine. I explore whether handicrafts, in accordance with feminist postulates, are transgressive, transformative, and inclusive. I link handicrafts with the feminist perspective, since, in the second half of the twentieth century, it was precisely the (...) feminist movement that initiated significant changes in the social and cultural perception of women, femininity, and gender relations. Thus I apply this perspective in the first place to the analysis of selected works of contemporary art in which handicrafts is used not only as a means of artistic expression but also as a subversive aesthetic strategy. I also demonstrate how the world of fashion transforms and aesthetizes handicrafts, whose presence in fashion makes it an area in which, in addition to imperatives and aesthetic values, social attitudes, ethical values, and world views are shaped. Finally, referring to the works of selected feminist authors (Mary Field Belenky, Mary Daly, Evelyn Fox-Keller, Donna Haraway), I show how these researchers have metaphorically interpreted handicrafts as specifically feminine ways of creating and developing knowledge. (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)

Maria Gołaszewska (1926–2015), a Polish philosopher, was 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 postwar 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 in this sense should be acknowledged as an important contribution to contemporary gender-sensitive/feminist philosophy. In the article, I present Gołaszewska’s life, academic career, and philosophy as a cognitively valuable response to feminist philosophy’s search for a suitable description of women’s experiences related to art and aesthetic perception. (shrink)

In this book, the author explores how video-image technology shapes our psychic and social environments from an art historiographical perspective. We know media technology is dramatically shaping our political and epistemological landscape: this book foregrounds the emergence of performative video images as a key factor in the revaluation of culture and politics. -/- Performative Images draws upon the work of video artists and activists in France between the 1970s and the early 2020s and focuses on significant practices with technology. Video (...) art and video activism are analysed together in the book to revaluate key concepts in media studies and foreground a performative approach to the theory of image technology. -/- The book engages works in visual culture, performance studies, digital studies, critical race theory, and feminist methodologies to account for the changes brought about by video technology in social and psychic life. Performative Images is about art and activists’ engagement in video technology—an engagement that unsettles the hegemonic narrative of dominant media, as well as the apparently politically neutral dimension of communication technology. (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)

"A collection of articles that address Jane Addams (1860-1935) in terms of her contribution to feminist philosophy and theory through her work on culture, art, ...

Cottingham : Western philosophy : an anthology (second edition) -- Cahoone : from modernism to postmodernism : an anthology (expanded -- Second edition) -- Lafollette : ethics in practice : an anthology (third edition) -- Goodin and Pettit: contemporary political philosophy: an anthology (second -- Edition) -- Eze: african philosophy : an anthology -- McNeill and Feldman : continental philosophy : an anthology -- Kim and Sosa : metaphysics : an anthology -- Lycan and Prinz : (...) mind and cognition : an anthology (third edition) -- Kuhse and Singer : bioethics : an anthology (second edition) -- Cummins and Cummins : minds, brains, and computers : the foundations of -- Cognitive science : an anthology -- Sosa, Kim, Fantl, and McGrath epistemology : an anthology (second edition) -- Kearney and Rasmussen : continental aesthetics, romanticism to -- Postmodernism : an anthology -- Martinich and Sosa : analytic philosophy : an anthology -- Jacquette : philosophy of logic : an anthology -- Jacquette : philosophy of mathematics : an anthology -- Harris, Pratt, and Waters : American philosophies : an anthology -- Emmanuel and Goold: modern philosophy from Descartes to Nietzsche : an anthology -- Scharff and Dusek : philosophy of technology ; the technological condition : an anthology -- Light and Rolston : environmental ethics : an anthology -- Taliaferro and Griffiths : philosophy of religion : an anthology -- Lamarque and Olsen : aesthetics and the philosophy of art; the analytic -- Tradition : an anthology -- John and Lopes : philosophy of literature ; contemporary and classic -- Readings : an anthology -- Cudd and Andreasen : feminist theory : a philosophical anthology -- Carroll and Choi : philosophy of film and motion pictures : an anthology -- Lange : philosophy of science : an anthology -- Shafer-Landau and Cuneo : foundations of ethics : an anthology -- Curren : philosophy of education : an anthology -- Shafer-Landau : ethical theory : an anthology -- Cahn and Meskin : aesthetics : a comprehensive anthology -- McGrew, Alspector-Kelly and Allhoff : the philosophy of science : an historical -- Anthology -- May and Brown : the philosophy of law : classic and contemporary readings -- Forthcoming -- Rosenberg and ARP : philosophy of biology : an anthology. (shrink)

I develop a phenomenological hermeneutics of four poems by Sylvia Plath: 'Mystic,' 'Ariel,' 'The Moon and the Yew Tree,' and 'The Arrival of the Bee Box.' Inspired by the work of Maurice Merleau-Ponty, I illustrate how we can experience individual poems through the multiple aspects of our embodiment. Importantly, single artworks are treated here with the same respect as single philosophical texts. Heidegger treats poems similarly in his "later" philosophy, which also influenced this dissertation. This emphasis on embodiment does (...) not mean to privilege the body over the cognitive. Instead, the cognitive is revealed as one aspect of our bodily existence. ;Plath's poetic themes intertwine with philosophical questions, such as the difference between instituted and creative language, the nature of gender, and the ethical status of the non-human. For example, Plath's work offers new ways of addressing feminist concerns over essentialism, identity, and spirituality. Plath's emerging notion of a feminine divine resonates with Luce Irigaray's call for a philosophical revisioning of the God of Western metaphysics. Plath's articulations of the body as it lives through pain contribute to the existentialist task of drawing us closer to an authentic experience of death. I show how pain possesses a spiritual dimension for Plath and connect this phenomenon with the act of writing poetry. ;The poetic dimension of language has been suppressed by reductive accounts that theorize language and the body's involvement in language in terms of representation rather than embodiment. I reveal the non-linguistic meanings within the lines and silences of poetic space that impact and alter our bodily being. Poetry allows us to experience, among other things, the flow of lived time, the colors of sounds, and our body's fusion with the world. Significantly, phenomenology bends with these issues in a chiasmic gathering where we can experience the affinity between these two discourses. Phenomenological hermeneutics uncovers the depth of language that is usually suppressed in calculative-rational discourses. ;Through these poetic phenomenological meditations, I open up ways of understanding spiritual and poetic language that impact our ethical encounters with one another, the environment, and the divine. (shrink)

Feminist epistemology and feminist art theory are characterized by an opposition to modernity's separation of art, politics, and knowledge into three autonomous spheres. However, this opposition is not enough to distinguish them from other philosophies. In this paper I examine parallels between the two fields of inquiry in order to discover what makes them distinctively feminist. Feminist epistemology sees interconnections between knowledge and politics, feminist art theory sees connections between art and politics. We need to (...) explore as well connections between art and knowledge. Compared to feminist epistemology, feminist art theory has had much less exposure, and in this paper I emphasize what the former can learn from the latter. In particular, I suggest that feminist art can answer a call made by feminist theories of knowledge for a kind of transformative knowledge. If we focus on the features of activist art explored by feminist art theories, we see that feminist art is particularly suited to engage emotions as well as the intellect. It is an example of nonpropositional knowledge, and is interactive rather than striving to pass down lessons from above. Feminist art celebrates the power of art to “make strange” and to unsettle fixed identities which can transform our understanding of the world. There is a tendency in some feminist art theory to separate the more concrete work (rediscovering women artists, recognizing women's crafts as art forms, and investigating sexist imagery in art), from the theoretical project of reenvisioning the relations of art to its sociopolitical context. I conclude by arguing that without an awareness of the dialectical relationship between the concrete and the theoretical, feminist art theories run the risk of losing their feminist specificity. They would then amount to little more than abstract pronouncements of the interconnections between art, politics, and knowledge. We need to maintain the feminist specificity of feminist politics in our theories of art and knowledge, and I use examples throughout the essay, drawn particularly from feminist activist art, with this goal in mind. (shrink)

Michel Foucault showed by his genealogical method that history is random. It comprises sites of disarray and dispersal. In those sites, Simone de Beauvoir wrote philosophy through lived experience of woman as Other in relation to man as the Absolute. Here lies a fecund site for revisionist analysis of female cultural production and its relevance to a philosophy of education. The paper works with a feminist approach to the politics of knowledge, examining textual and political strategies in (...) the recording of history and the ‘othering’ of women through dominant cultural discourses. Infusing this discussion is a feminist politics of interrogation on cultural change for women. The paper investigates contributions of women to fields of art, politics, education and philosophy, and to the ways their contributions have been considered, received, positioned. Different approaches to feminism become apparent in the different conditions of knowledge under discussion. This leads to a final consideration of femi... (shrink)

THE NATURE OF ART is a collection of 29 seminal, historically-organized readings that are focused on a basic philosophical question: What is Art? Including writings from the Western tradition'both Continental and Analytic traditions'as well as non-Western, minority, and feminist writings, this volume provides students with a rich set of resources to explore this matter both broadly and deeply. Introductions to each reading situate the selection amidst each respective thinker's body of work and the greater philosophical context in which the (...) remarks arose. Reading questions accompany each selection, drawing students' attention to key points to be encountered. Hailed by reviewers and adopters for its clarity and rigor, Wartenberg's THE NATURE OF ART offers a lively and engaging introduction to the philosophy of art. (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)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.3 (2000) 243-258 [Access article in PDF] Poaching on Men's Philosophies of Rhetoric: Eighteenth- and Nineteenth-Century Rhetorical Theory by Women Jane Donawerth Although their discussions have often been ignored in histories of rhetoric, women did participate in the development of philosophies of rhetoric in the eighteenth century and nineteenth century. 1 Most, like Hannah More, left to men preaching, politics, and law (the traditional genres (...) of European rhetoric) and took as their territory conversation and letter writing (more domestic rhetorical forms). 2 But some "poached" on men's territory. In this essay, I examine the tactics that Maria Edgeworth, Eliza Farrar, and Frances Willard used to appropriate and respond to a tradition of rhetoric that by fiat excluded women from rhetorical education, public speaking, and persuasive writing. In order to analyze their poaching on men's territory, I borrow from Michel de Certeau's theory of everyday practices of consumption.In The Practice of Everyday Life (1984), de Certeau suggests that we should study the ways that culture is constituted not only by dominant ideology, but also by "the dominated element in society (a status that does not mean that they are either passive or docile)" (xi-xii). Culture, for de Certeau, is not simply consumed; rather, in everyday life, it is invented "by poaching in countless ways on the property of others" (xii). One must study not just consumers, but also how they consume, what they do and make with the cultural artifacts and constructs offered to them, how they manipulate ideology. For the weak, those lacking political power, de Certeau, like recent feminists, 3 claims sophistic rhetoric, since the Sophists privileged the art of making "the weak position seem the stronger" (xx). How do "users reappropriate the space organized by techniques of sociocultural production?" asks de Certeau (xvii). For the weak, as for the Sophist, "[a] tactic insinuates itself into the other's place, fragmentarily, without taking it over in its entirety, without being able to keep it at a distance" (xix). With these issues in play, de Certeau studies everyday practices--shopping, cooking, moving about, and, most important for our purposes, reading. [End Page 243]Although seemingly passive, reading, de Certeau points out, is an "activity" of "silent production" (xxi). The reader does not absorb what he or she reads, but, instead, reinvents it--misunderstands it, adapts it to his or her own interests and concerns, remembers pieces of it, but pieces mutated. "This mutation makes the text habitable" (xxi), argues de Certeau. Thus, the dominant in culture may offer a set of rules, but it is only a basis for improvisation for the multitude of others in society. Consumption is not the imposition of an ideology on a society; a group does not absorb what it consumes. Instead, the group makes what it consumes its own. "'Assimilating' does not mean 'becoming similar to,'" according to de Certeau; rather, it means "'making something similar'" (166). A reader is not, then, a passive consumer. A reader "wander[s] through an imposed system," modifying and inventing a meaning (169). De Certeau thus focuses on the reading practices of the many "others" of society, "the silent, transgressive, ironic or poetic activity of readers... in private" (172). Readers do not absorb what they read. They are "travelers" who move across and "poach" from the "fields" of others' writings (174).With this essay, I examine the ways in which three women poach on men's rhetorical theory. Maria Edgeworth uses parody, comically enlarging key words in Enlightenment rhetoric to make a place for women in it. She reinvents the demonic shrew as a clever sophistic rhetorician. Eliza Farrar uses performance: she places women in the role of disciple, admiring the great men who thought up rhetoric, but then taking over the role of rhetorician with the pretense of laudatory imitation. Frances Willard uses collage: she cuts and pastes her own and other women's ideas about women preaching in with those of the famous men of her society. She creates a republican, presbyterian... (shrink)

Even though philosophy of film is a relatively small and relatively young philosophical subfield, I argue that it is well worth a dedicated undergraduate course. I outline such a course below, with reference to particular anthologies of readings and a corresponding list of central topics. I recommend adopting a broad conception of film, to include moving image works in a range of formats and technological media, as well as an inclusive approach to philosophizing about film, one that draws on (...) the history of film theory, both the analytic and the continental philosophical traditions, critical race theory, and feminist theory. The aim of a philosophy of film course is to hone students’ philosophical skills in the service of a deeper appreciation of the art of moving images. (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)

Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare under (...) his perusal, for example, feminist critiques of traditional definitions of "art," challenges to the elitist makeup of the Artworld, . . . and opposition to his very choice of paradigms: in addition to Duchamp, the "hard cases" include works by John Cage, Andy Warhol, Olivier Messiaen, Jorge Luis Borges, and Gerald Hoffnung. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art. (shrink)

A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective of (...) the values of its participants. Its impetus involves ‘feminist imperative(s)’ to help in the sense articulated by Elizabeth Grosz: to provoke thought, challenge, and problematize. (shrink)

The British government's White Paper on science together with government research council reports are used as a basis for critiquing current science policy and its intensifying orientation, British and worldwide, towards industrial and military development. The critique draws particulary on Plato and Bacon as yardsticks to address who science is for, what values it honours and where current policy departs from imperatives of socio-ecological justice. Metaphors of the ' Emperor 's new clothes' and incremental spectral shift in attitude help illuminate (...) both the problems and ways forward. The paper calls for a re-integration of classical perspectives with added insights, often ecofeminist, from philosophy, poetics and a theology of reverence. Predication on the values of love, interconnectedness and orientation towards childrens' all-round development should be central to curricular reform. Consistent with the views of Plato, the original founder of the Academy, the utilitarian role of science ought to be balanced with a contemplative role of science as the art of knowing ourselves in relation to nature. Only with such a holistic academic approach can it adequately rise to providing a pedagogy of authentic human development, service to the poor and remedies, rather than contribution, to the ongoing destruction of nature. (shrink)

Within intellectual paradigms that privilege mind over matter, dance has long appeared as a marginal, derivative, or primitive art. Drawing support from theorists and artists who embrace matter as dynamic and agential, this book offers a visionary definition of dance that illuminates its constitutive work in the ongoing evolution of human persons. _Why We Dance _introduces a philosophy of bodily becoming that posits bodily movement as the source and telos of human life. Within this philosophy, dance appears as (...) an activity that humans evolved to do as the enabling condition of their best bodily becoming. Weaving theoretical reflection with accounts of lived experience, this book positions dance as a catalyst in the development of human consciousness, compassion, ritual proclivity, and ecological adaptability. Aligning with trends in new materialism, affect theory, and feminist philosophy, as well as advances in dance and religious studies, this work reveals the vital role dance can play in reversing the trajectory of ecological self-destruction along which human civilization is racing. (shrink)

Disability has been a topic of heightened philosophical interest in the last 30 years. Disability theory has enriched a broad range of sub-specializations in philosophy. The call for papers for this issue welcomed papers addressing questions on normalcy, medical ethics, public health, philosophy of education, aesthetics, philosophy of sport, philosophy of religion, and theories of knowledge. This issue of Essays in Philosophy includes nine essays that approach the philosophy of disability in three distinct ways: (...) The first set of three essays provide a careful analysis of John Rawls, and the application of his work in ethics and justice to societies in which persons with disabilities, especially cognitive disabilities, can take active part in the processes of civil society. The second set of three essays branch out into continental philosophy, and are especially engaged with issues of community membership, communication, translation, and hermeneutics. The third set of three essays address disability specifically through the arts and aesthetics; asking questions on the portrayal of disabled persons in the arts and its implications for normalcy, sexuality, beauty, and the sublime. (shrink)

Review of: Feminism and Art in Postwar Italy: The Legacy of Carla Lonzi, Francesco Ventrella and Giovanna Zapperi (eds) (2020) London: Bloomsbury Publishing, 296 pp., ISBN 978-1-78453-732-6, h/bk, £95.00.

In her excellent "Feminist Art History and De Facto Significance," for example, aesthetician Susan L. Feagin explains how her initial skepticism about Continental approaches-especially those drawing on Foucault, Marx, Levi-Strauss, Lacan, and "even Derrida and poststructuralist literary theory" - gave way to an appreciation of how these approaches encourage, in a way analytic aesthetics does not, "the trenchant analyses and acute observations that have emerged from feminist art historians" (305). And, indeed, although she goes on to suggest how (...) traditional aesthetics might accommodate feminist and other politically informed analyses, she cautions that "it is too easy to miss the most innovative aspects of another's view if one tries to understand it only in terms of one's own theoretical perspective" (305). (from review by Sally Markowitz, Hypatia Vol. 11, No. 3 (Summer, 1996), pp. 169-172). (shrink)

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which (...) “anything goes,” a future that unfortunately rests upon the same outdated foundation as the concept “art.” This essay was originally published in The Proceedings of the Twentieth Century World Congress of Philosophy (1999) and reprinted in Noel Carroll, ed., Theories of Art Today (The University of Wisconsin Press, 2000). (shrink)

The spectacular progress in assisted reproduction technology that has been witnessed for the past thirty years resulted in emerging new ethical dilemmas as well as the revision of some perennial ones. The paper aims at a feminist approach to oocyte and spare embryo donation for research. First, referring to different concepts of autonomy and informed consent, we discuss whether the decision to donate oocyte/embryo can truly be an autonomous choice of a female patient. Secondly, we argue the commonly adopted (...) language of gift is misleading and that calling for altruism could put female patients at risk of exploitation. Finally, we point out that the presence of gender stereotypes in the procreative area casts doubt whether even a more robust notion of informed consent manages to overcome this risk. (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)

JPVA Journal of Philosophy and the Visual Arts No 6 Complexity Architecture / Art / Philosophy 'Beginning with complexity will involve working with the recognition that there has always been more than one. Here however this insistent "more than one" will be positioned beyond the scope of semantics; rather than complexity occurring within the range of meaning and taking the form of a generalised polysemy, it will be linked to the nature of the object and to its production. (...) Complexity, therefore, will be inextricably connected to the ontology of the object. What this means is that complexity, in resisting the hold of a semantic idealism on the one hand, and the attempt to give to it the position of being the basis of a new foundationalism on the other, becomes a way of thinking both the presence and the production of objects.' Andrew Benjamin The Journal of Philosophy and the Visual Arts has set new standards in its exploration of themes central to philosophy's relation to the visual arts, illuminating areas of art criticism, architecture, feminism as well as philosophy itself. Rather than simply reflecting current trends it provides a forum in which the real developments in the analysis of the visual arts and its larger cultural and political context can be presented. Articles by well known philosophers and theorists, as well as some lesser known, together with writings by artists and architects allow a strong interdisciplinary approach reflecting the Journal's roots in post-structural theory. Previous issues include: Philosophy & the Visual Arts (No 1) Philosophy & Architecture (No 2) Architecture, Space, Painting (No 3) The Body (No 4) Abstraction (No 5). (shrink)

_Feminist Amnesia_ is an important challenge to contemporary academic feminism. Jean Curthoys argues that the intellectual decline of university arts education and the loss of a deep moral commitment in feminism are related phenomena. The contradiction set up by the radical ideas of the 1960s, and institutionalised life of many of its protagonists in the academy has produced a special kind of intellectual distortion. This book criticises current trends in feminist theory from the perspective of forgotten and allegedly outdated (...) feminist ideas. Jean Curthroys show that much contemporary feminist theory, like much of today's radical thought, is muddled. The 'forgotten' theory of Women's Liberation was, she argues, deeply oppositional and moral. The repression of this theory has led to distortions, most notabley in the preoccupation with binary oppositions. Jean Curthoys argues that where Women's Liberation was once radical, much of contemporary feminist thought hides behind obscurantism, and has become conservative and orthodox. These controversial ideas will be keenly debated by all those involved in womens's studies, feminist theory and moral philosophy. (shrink)

Philosophical aesthetics emerges out of eighteenth-century discussions of taste that paid scant attention to the experience of tasting and ingesting food. Sarah Worth diagnoses this historical oversight and offers an unexpected remedy. She argues that we should start our analysis of aesthetic taste over again, this time beginning with the pleasures of the tongue and mouth, and work out from there to consider the kinds of experience, knowledge, and appreciation that belong to eating and savoring. As she argues, our ability (...) to make gustatory discriminations and to determine what tastes good and why is not as different from our aesthetic judgments as philosophers and other aesthetic theorists might have led us to believe. In this engaging and readable book, Worth persuasively argues that food and its many tastes deserve serious philosophical consideration.Worth explores a number of puzzles that arise when we try to make sense of the concept of taste. She disentangles the metaphorical sense of taste understood as a reasoned judgment expressing aesthetic preferences from the literal sense of taste which involves our sensory experiences when food is in our mouths. She discusses good and bad taste, food and pleasure, authentic and inauthentic food, “food porn”—those impossibly glamourized images of food that we find in advertising and magazines and cookbooks and social media—and the role of recipes in the practice of cooking. She places our everyday experiences of food in the context of wider relationships and activities including cultivation, harvesting, processing, shipping, and purchasing, as well as the preparation and cooking meals for family and friends. The book is punctuated by many of the usual philosophical suspects (Plato and Aristotle, Hume and Kant, Bullough and Sibley) as well as critical and feminist theorists, food sociologists, and a number of famous chefs including Fannie Farmer, Julie Child, and Nigella Lawson. If Worth endorses a particular metaphilosophy of food, it would be that of the Slow Food movement, which is the subject of Chapter Three. (shrink)

Introduction: Philosophy in a Feminist Voice? /​ Janet A. Kourany History of Philosophy: Disappearing Ink: Early Modern Women Philosophers and Their Fate in History /​ Eileen O’Neill Philosophy of Persons: "Human Nature" and Its Role in Feminist Theory /​ Louise M. Antony Ethics: Feminist Reconceptualizations in Ethics /​ Virginia Held Political Philosophy: Feminism and Political Theory /​ Susan Moller Okin Aesthetics: Perceptions, Pleasures, Arts: Considering Aesthetics /​ Carolyn Korsmeyer Philosophy of Religion: (...) class='Hi'>Philosophy of Religion in Different Voices /​ Nancy Frankenberry Epistemology: Voice and Voicelessness: A Modest Proposal? /​ Lorraine Code Philosophy of Science: A New Program for Philosophy of Science, in Many Voices /​ Janet A. Kourany Philosophy of Language: Semantics in a New Key /​ Andrea Nye Afterword: The Feminist as Other /​ Susan Bordo. (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist (...) aesthetics. Forward by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which (...) “anything goes,” a future that unfortunately rests upon the same outdated foundation as the concept “art.”. (shrink)

In this study, Alan Paskow first asks why fictional characters, such as Hamlet and Anna Karenina, matter to us and how they emotionally affect us. He then applies these questions to painting, demonstrating that certain paintings beckon us to view their contents as real. As emblematic of the fundamental concerns of our lives, paintings, he argues, are not simply in our heads but in our world. Paskow also situates the phenomenological approach to the experience of painting in relation to contemporary (...) schools of thought, particularly Marxist, feminist, and deconstructionist. (shrink)

Feminist philosophy of science has led to improvements in the practices and products of scientific knowledge-making, and in this way it exemplifies socially relevant philosophy of science. It has also yielded important insights and original research questions for philosophy. Feminist scholarship on science thus presents a worthy thought-model for considering how we might build a more socially relevant philosophy of science—the question posed by the editors of this special issue. In this analysis of the (...) history, contributions, and challenges faced by feminist philosophy of science, I argue that engaged case study work and interdisciplinarity have been central to the success of feminist philosophy of science in producing socially relevant scholarship, and that its future lies in the continued development of robust and dynamic philosophical frameworks for modeling social values in science. Feminist philosophers of science, however, have often encountered marginalization and persistent misunderstandings, challenges that must be addressed within the institutional and intellectual culture of American philosophy. (shrink)

While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own (...) limitations and unasked questions. This essay addresses the paucity of work in feminist philosophy and popular music by applying insights from other areas of feminist aesthetics to questions of popular music, and thereby using feminist aesthetics – specifically, Julia Kristea’s notion of female genius and the genius spectator – to critique itself. (shrink)

Feminists surely cannot be blamed for having one or two differences with a philosopher who compared women to plants in their intellectual powers, denied that they were capable of the higher activities of art, science, and philosophy, and warned that when “women hold the helm of government, the state is at once in jeopardy, because women regulate their actions not by the demands of universality but by arbitrary inclinations and opinions.” Undoubtedly, in some of his texts Hegel made patently (...) ridiculous and offensive statements about women. Nevertheless, it seems to me that in their zeal to attack the prejudice that Hegel on occasion displayed, some feminists have overlooked much of the subtlety of his philosophy. Ignoring the larger context of his arguments, they have instead myopically focussed on particular phrases and moments in his thinking which seem to be easy targets. (shrink)

The format of this volume in the Library of Living Philosophers series provides for a detailed interaction between those who interpret and critique Julia Kristeva's work and Kristeva herself, giving broad coverage, from diverse viewpoints, of all the major topics establishing her reputation. This work begins with her autobiography, which provides an excellent introduction to her work, situating it in relation to major political, intellectual, and cultural movements of the time. The major part of the book is comprised of thirty-six (...) essays by Kristeva's foremost interpreters and critics, together with her replies to the essays. These encounters cover an exceptionally wide range of theoretical and literary writing. The strong international and multidisciplinary focus includes authors from over ten countries, and spans the fields of philosophy, semiotics, literature, psychoanalysis, feminist thought, political theory, art, and religion. A comprehensive bibliography of works by Kristeva is included. (shrink)

The philosophy of art and empirical aesthetics are, to all outward appearances, natural bedfellows, disciplines bound together by complimentary methodologies and the common goal of explaining a shared subject matter. Philosophers are in the business of sorting out the ontological and normative character of different categories of objects, events and behaviors, squaring up our conception of the nature of things, and clarifying the subject matter of different avenues of intellectual exploration via careful conceptual analyses of often complex conventional practices. (...) Psychologists have developed careful empirical methods for measuring and modeling behavior, methods that are fruitfully used in practice to test and evaluate hypotheses derived from our conception of the nature of our own cognitive and emotional engagement with the world. So, for all appearances, philosophy and psychology are grounded in complimentary research methods directed at the common task of sorting and testing theories about the nature of art and artistic practices, e.g. what is an artwork, what is the nature of the productive practices involved in creating these kinds of artifacts, or what is the nature of a consumer's artistic engagement with these artifacts. Unfortunately appearances can be deceptive. Despite common calls for rapprochement the two disciplines rarely meet. There are methodological and ideological reasons for this rift, and they are, not surprisingly, related. In what follows I will explore and evaluate some of the central sources of resistance on both sides this divide, introduce a model for the possibility of rapprochement, and briefly sketch the promise and pitfalls of current research in two areas, dance and film, where an active attempt at bridging the divide between philosophy and empirical aesthetics is underway. (shrink)

본 논문은 여성주의적 실천의 한 방식으로서 장소 특정적 예술이 가질 수 있는 가능성을 미학적 관점에서 탐구하는 것을 목표로 한다. 현대예술의 일반적인 형식중의 하나로서 자리잡은 장소특정적 예술은, 장소라는 요소가 비판적 예술 실천(수행)에서 어떻게 문제적이 되는지 장소적 실천 일반에 대해서 시사하는 바가 크다. 그 중에서도 본 논문은 장소와 여성주의적 실천의 관계를 다루며, 이를 위해, 2000년대 이후 한국 여성예술가의 네 개의 장소특정적 예술들 - 예술가의 서사와 담론이 중심이 되어 장소화나 특정 장소 선정이 이루어지는 두 가지 경우, 특정 지역 관련 기획전시의 경우, 특정 지역연구 (...) 프로젝트의 경우-을 대표 사례로 고려하였다.BR 모더니즘 예술의 매체 특정성과 대조적으로, 장소 특정성은 예술이 놓여있는 사회제도적 장소에 대한 의식과 질문이 주요동기가 되기 때문에, 비판적 문화실천으로서 여성주의적 실천의 가능성이 탐색될 수 있다. 예술에서의 장소특정성이 여성주의적 실천으로 기능하기 위해서 우선적으로 선행되어야 할 것은 장소 혹은 장소정체성이라는 개념에 대한 재해석이다. 장소란 특정 지리적 입지에 교차하는 다양한 사회적 관계라는 비판지리학자 매시Massey의 주장에 따른다면, 장소를 재구성하고 재해석하는 행위는 모두 정치적 행위이며, 예술에서 지역적 정체성이라는 요소의 활용 역시 젠더나 인종, 지역 문제에 대한 진보적 실천의 방식이 될 수 있다. 여성주의적으로 의미있는 장소적 예술실천에서 중요한 것은 이처럼, 우선적으로는 관계적 장소개념에 의해 기존의 지역정체성이 역사적으로 어떻게 구성되었는지의 해체와 재해석, 즉 특정 장소 정체성에 대한 여성주의적 관점에서의 적극적 재해석이다. 또한 장소특정적 예술의 많은 형태가 특정 장소나 지역 연구프로젝트라는 특수한 예술 형식과 관련된다. 이같은 지역연구 프로젝트는 여성예술가(집단)가 그 지역 정체성을 재해석하는 것 뿐 아니라, 그 지역에 살고 있는 여성 공동체의 삶에 개입하게 된다. 따라서 장소특정적 실천이 여성주의적으로서 유의미하게 위해 중요한 두 번째 요소는, 타자로서의 예술가가 지역 공동체와 관계함에 있어 어떤 위치를 취하고 어떤 방식을 택할 것인가에 대한 미학적, 윤리학적 성찰이라고 할 수 있다. (shrink)