The iconoclastic scholar Li Zhi (1527-1602) was a central figure in the cultural world of the late Ming dynasty. His provocative and controversial writings and actions powerfully shaped late-Ming print culture, commentarial and epistolary practice, discourses on authenticity and selfhood, attitudes toward friendship and masculinity, displays of filial piety, understandings of the public and private spheres, views toward women, and perspectives on Buddhism and the afterlife. In this volume, leading sinologists demonstrate the interrelatedness of seemingly discrete aspects of Li Zhi's (...) thought and emphasize the far-reaching impact of his ideas and actions on both his contemporaries and his successors. In doing so, they challenge the myth that there was no tradition of dissidence in premodern China. (shrink)

Li Zhi's iconoclastic interpretations of history, religion, literature, and social relations have fascinated Chinese intellectuals for centuries. His approach synthesized Confucian, Buddhist, and Daoist ethics and incorporated the Neo-Confucian idealism of such thinkers as Wang Yangming. The result was a series of heretical writings that caught fire among Li Zhi's contemporaries, despite an imperial ban on their publication, and intrigued Chinese audiences long after his death. Translated for the first time into English, Li Zhi's bold challenge to established doctrines will (...) captivate anyone curious about the origins of such subtly transgressive works as the sixteenth-century play _The Peony Pavilion_ or the eighteenth-century novel _Dream of the Red Chamber_. In _A Book to Burn and a Book to Keep _, Li Zhi confronts accepted ideas about gender, questions the true identity of history's heroes and villains, and offers his own readings of Confucius, Laozi, and the Buddha. Fond of vivid sentiment and sharp expression, Li Zhi made no distinction between high and low literary genres in his literary analysis. He refused to support sanctioned ideas about morality and wrote stinging social critiques. Li Zhi praised scholars who risked everything to expose extortion and misrule. In this sophisticated translation, English-speaking readers encounter the best of this heterodox intellectual's vital contribution to Chinese thought and culture. (shrink)

The iconoclastic scholar Li Zhi (1527-1602) was a central figure in the cultural world of the late Ming dynasty. His provocative and controversial writings and actions powerfully shaped late-Ming print culture, commentarial and epistolary practice, discourses on authenticity and selfhood, attitudes toward friendship and masculinity, displays of filial piety, understandings of the public and private spheres, views toward women, and perspectives on Buddhism and the afterlife. In this volume, leading sinologists demonstrate the interrelatedness of seemingly discrete aspects of Li Zhi's (...) thought and emphasize the far-reaching impact of his ideas and actions on both his contemporaries and his successors. In doing so, they challenge the myth that there was no tradition of dissidence in premodern China. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Prelude to the Special Issue of the Journal of Aesthetic Education on Children’s LiteratureEllen Handler Spitz, Guest Editor (bio)When Professor Pradeep A. Dhillon, editor of the Journal of Aesthetic Education, suggested to me one day that I might guest edit a special issue of the journal devoted to the topic of children’s literature, my initial reticence was toppled and my sense of resolve buoyed as I began (...) to fantasize with billowing excitement about just how this might be done. First, I dreamt up the image of guest editor as bountiful hostess—setting out delectable dishes in an elegantly appointed banquet before the readers of this journal. That metaphor faded, however, despite Maria Tatar’s eloquent reminder to us in these pages that gastronomy has frequently and salubriously been juxtaposed with reading. I could not help worrying (even though children vociferously protest the logic of this problem) that one cannot have one’s cake and eat it too. Therefore, switching to music, I began to imagine the editor as conductor of a highly select ensemble of musicians, all gifted with glorious well-seasoned voices. They might perform a concert (recorded for posterity, of course) of pieces aimed at an audience of those who care passionately about aesthetics, education, literature, and above all about children, and at those who, perhaps with tenderness, still recall their own childhood reading.But how to accomplish this in practical terms? Well, I reasoned, I would simply invite a group of distinguished senior scholars who, having achieved their reputations in related fields and having written on other subjects as well, have published highly significant works pertaining to children’s literature. Each person would contribute a composition in his or her own voice, and there would be complete freedom, carte blanche, no holds barred—the only constraint being page numbers. Would the results turn out to be harmony or cacophony? Well, I speculated, if each voice were finely tuned, resonant, and clear, whether treble or bass, forte or pianissimo, the outcome—although [End Page 1] unpredictable in terms of specifics—would, unquestionably, be musical. But that, dear reader, is ultimately for you to judge, for you have now heard precisely how this issue came into being and will, we hope, read on. Each author I asked responded to my call with alacrity and, in his or her original style and tone, made my task as conductor a perfect pleasure.We offer you a work in three parts. First, you will encounter two melodious and euphonious pieces, contributed respectively by Marina Warner (“Out of an Old Toy Chest”) and Maria Tatar (“From Bookworms to Enchanted Hunters: Why Children Read”). Here, the overarching themes of children’s play and make believe are set up, analyzed, and explored. Playing and reading are placed side by side, as well as reasons why children love to read and how they are variously exhorted, extolled, and even occasionally excoriated by adults for doing so.Our second movement consists of three apparently unrelated motifs, contributed in turn by Gareth Matthews (“Philosophical Adventures in the Lands of Oz and Ev”), Seth Lerer (“Style and the Mole: Domestic Aesthetics in The Wind in the Willows”), and myself (“Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely Child”). Actually, however, these essays are not unrelated, for each motif arises from a particular mode of interpretation grounded in turn in philosophy, in literary history and theory, and in psychology. The works considered are all by notable writers for children: L. Frank Baum, Kenneth Grahame, William Steig, and Maurice Sendak.For our grand finale, we offer two sonorous, seriously challenging contributions, one by Jack Zipes (“Why Fantasy Matters Too Much”) and the other by Eliza T. Dresang and Bowie Kotrla (“Radical Change Theory and Synergistic Reading for Digital Age Youth”). These works grapple with contemporary matters, with fantasy, with technology, and with “radical change” as these can be discerned in the literature, imagery, and general cultural lives of today’s and even, quite possibly, of tomorrow’s children. Gesturing toward the future even more strikingly, we conclude this work with a flourishing coda in the actual voice of a living child... (shrink)

Art teaches us not only what to see but what to be.Artists refashion stories with paintbrush and chisel. Their narrations reach back through time to the mysteries of cave painting at Altamira and Lascaux, over seventeen thousand years ago. We no longer know what stories the pictures on those walls were meant to illustrate, but we can try to imagine, even now.1Images speak a different language from words. They tell stories differently. Yet, for many generations, since art history was legitimized (...) as a discipline in American academia, early in the twentieth century2 illustration has been treated with a measure of condescension. Bernard Berenson, among others, intimates, in his Italian Painters of the Renaissance.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Pictorial World of the ChildEllen Handler SpitzThe Pictorial World of the Child, by Maureen Cox. Cambridge: Cambridge University Press, 2005, 357 pp., paper.Scholarly, informative, and impartial are adjectives that spring to mind with respect to Maureen Cox's book, The Pictorial World of the Child, a text principally but not exclusively devoted to the subject of children's drawings and to ways in which children seem to understand (...) pictorial representations as well as create them. Because of its clarity and comprehensiveness, this book seems well-suited for classroom use. Effectively organized into a cogent selection of significant subtopics, it summarizes and presents a vast array of contributions by colleagues whose work Cox surely respects and treats in an admirably evenhanded way. Since, as she states at the beginning of her book, a serious scholarly interest in children's pictures has been with us for over a century, her task is prodigious, and she accomplishes it with grace and precision. It is perhaps to her credit that Cox does not argue passionately on one side or another of a host of thorny issues in her field about which many scholars, teachers, and theorists seem to exhibit strong one-sided views. How should art be taught to young children, for example? Should they be given total freedom or required to perform an ordered set of tasks? In every case, Cox offers her readers a panoply of perspectives and invites them to entertain the spectrum of opinion and then decide for themselves or not.The book is written, therefore, as far as I can tell, to promulgate no particular thesis of any kind. It simply is what it purports to be, namely, an overview of the field by someone who has a deep knowledge of it. It informs and educates through its systematic citation of experimental situations, test results, evaluations, neurological research, art historical material, and the like, and, while acknowledging disagreements right and left, it does not enter into philosophical debate. If one were inclined to fault the book at all, one might criticize it for this—that is, for lacking sufficient skepticism and deep questioning. But surely that would be niggardly, for nowhere does Cox state philosophizing to be her purpose in these pages. I would argue, in fact, to the contrary—that Cox underestimates herself when she states as her principal aim merely the furthering of interest in and appreciation of children's drawings (7). To my mind, she goes far beyond that modest goal to enlighten and educate her readers.Let me give some examples of Cox's treatment of controversial topics. It is arguable, for example, as to whether or not young children understand representational duality and can tell the difference between a pictured representation and the object pictured. A broad spectrum of research, claims, and beliefs are citable on both sides here, with the most up-to-date [End Page 110] scholars being persuaded that young children are far more sophisticated than we had previously thought. But conjure up, if you will, on the other side that well-known photograph in which a baby holds a picture of a clock to his ear and tries to hear it ticking. (This image, subtitled "How they read it," was printed on the jacket of Mary Calderone and Edward Steichen's The First Picture Book of 1930, which was reissued by the Frances Mulhall Achilles Library at the Whitney Museum of American Art, New York, in 1991.) After citing numerous sources and experiments, Cox equivocates as follows: "It seems that young children may know the difference between a picture and the real object it represents, but their behaviour is often confusing" (25); to me, this seems exactly right. We simply cannot accept a blanket statement meant to cover all cases, and, as with many or even most of the topics under consideration in this book, there are no definitive answers. Thus, the fact that Cox chooses to present intriguing research but leave the conclusions open seems preferable to joining sides in a spurious debate and one, perforce, with huge cultural and historical contingencies, contingencies to which indeed she pays heed from time to time... (shrink)

Drawing on psychoanalytic discourse, the author of this work probes the use of words and images in contemporary culture. She draws upon a number of artistic movements and exhibitions to examine the emotional and intellectual responses to art.

A work of art no matter how old and classic is actually, not just potentially, a work of art only when it lives in some individualized experience. . . . It cannot be asserted too strongly that what is not immediate is not aesthetic. Let’s imagine a young professor who receives a poor review of her teaching because she fails, when observed, to complete what she had initially set out to accomplish in the specific class meeting under critique. Assessment, after (...) all, does imply—when taken literally—being judged on what one has set out to do. Why did she fail? Her art history students, mesmerized by Van Gogh’s hypnotic final masterpiece “Crows over Cornfield,” had, after their initial reticence, gradually .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely ChildEllen Handler SpitzThere was the child, listening to everything...—Yasunari Kawabata1IntroductionPicture-book characters spring to life in both verbal and visual registers. Moving about the page before our eyes as well as speaking and acting in their respective stories, they often make a long-lasting impact on children. Pictures and words, moreover, may overlap but are never commensurate; like (...) the words and notes of a song, they mean and evoke differently even while being experienced together. This brief essay considers a small selection of works by two distinguished twentieth-century American authors-artists: William Steig (1907–2003) and Maurice Sendak (b. 1928). It argues that, with their artful words and pictures, Steig and Sendak construct very different—even contrasting—visions of childhood. By “ethos” in this context I mean to suggest a vision of what a child is, a sense of what it means both to be a child and to address one. Such visions differ not only through the ages and from one culture and locale to another but also from one author-artist of the same period and locale to another. Invited to speak on Sendak’s and Steig’s respective works at meetings scheduled just a week apart in New York City during the winter of 2007, I found in these paired invitations a fortuitous opportunity to juxtapose several of their works and thereby discover some arresting contrasts and formulate the following readings.2First, a word on the topic of methodology. Nearly one hundred years have elapsed since Freud published his celebrated-cum-notorious foray into psychobiography with Leonardo da Vinci and a Memory of His Childhood,3 wherein shards of circumstantial biographical evidence were laid out in seductive mosaic patterns secured with a grout of ingenious speculation. Despite subsequent decades of critical reflection, Freud’s method soldiers on nonetheless as a modus operandi in the psychological interpretation of art and literature.4 By bracketing a small selection of Steig’s and Sendak’s works here and limiting myself to extracting a tentative underlying ethos from them, I am [End Page 64] taking the position that to write psychologically one need not mention or exploit a creator’s personal life. This essay points gently toward psychological approaches that ask what we can see when we look carefully at the pages of works. What can we find when we share children’s books with children? Why, for example, has Sendak’s Where the Wild Things Are sold over seventeen million copies (and its Amazon rank last time I checked was around 145, which means that only 144 other books in the United States were selling more copies at that particular moment), whereas his later work Outside Over There—a book that apparently figures prominently in his personal life—comes nowhere close?5 While market figures do not correlate flawlessly with children’s actual preferences (adults, not children, are the buyers), I would aver that, in this case, they do reflect the success and beloved status of Where the Wild Things Are, since the figures tally with additional facts: the book continues to appeal in its fifth decade post publication; it is known and has been translated worldwide, dramatized, and set to music6; and its characters have been fashioned into ubiquitous stuffed toys. On the other hand, in my (limited) experience, young children seem to find Outside Over There unsettling, unintelligible, even “creepy” and often have trouble sitting still through a full rendition. Some adults, on the other hand, praise that book as poetic and admire its more complex art. Such discrepancies in reception deserve our attention; they hint at fallow fertile fields lying over the rainbow, far beyond the much-plowed tracts of authorial psychobiography. This essay gestures casually toward those fields.The Connected Child“My dear Deborah,” said Doctor De Soto, “you must have been reading my mind.7Let’s begin with William Steig, who is best known for his New Yorker cartoons. His work for children extends back to 1968,8 however, when he was already a man in his sixties. Setting aside the... (shrink)

Friedl had us drawing what we like to do, what we dream about . . . She transported us to a different world. In his State of the Union address on January 25, 2011, United States President Barack Obama gave praiseworthy preeminence to education and to his “Race to the Top” program. However, he deemed only two fields of education worthy of note, namely, math and science. He mentioned these areas of knowledge several times during his speech but omitted any (...) reference to educating children in the arts. This is a regrettable oversight, as arts education nationwide and perhaps worldwide has been progressively undervalued and underfunded. Yet, as one of America’s finest poets, James Weldon Johnson .. (shrink)

This essay is prompted, in part, by a spate of alarmist articles in the media over the past several years concerning what journalists have called "the creativity crisis,"2 articles claiming, in other words, that American creativity is in decline. A corresponding call has arisen to seek remedies and determine how creativity might be fostered in the lives of children so as to stem the tide of this (alleged) decline. While taking these dramatic concerns and pronouncements cum grano salis, this article (...) responds, nevertheless, by extracting a set of themes drawn from the childhoods of three individuals whose remarkable contributions to the disparate fields of science, classical music, and visual art are beyond.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 113-120 [Access article in PDF] Wonders, Witches, Wolves, and Wisdom Ellen Handler Spitz Honors College Professor of Visual Arts University of Maryland The Annotated Classic Fairy Tales, ed. Maria Tatar, New York: W.W. Norton, 2002, Paperback: 394 pp., $16.95. We persist in hearkening to fairy tales. Along with ancient myths, the parables of scripture, the secular legends and sacred texts (...) of many lands, a stable canon of these magical tales still provides, even in the twenty-first century, an ongoing source of inspiration to artists, composers, choreographers, filmmakers, poets, and, above all, to the writers and illustrators and readers of children's books. They are of abiding interest as well to all of us who, in our various ways, concern ourselves with the aesthetic education of children. Why is this so? One preeminent authority in the field is Maria Tatar, John L. Loeb Professor of Germanic Languages and Literatures at Harvard University, an author who, with wisdom, tenderness, and erudition, has traced and researched these tales. Having devoted two decades to the phenomenon, Tatar's works include The Hard Facts of the Grimms' Fairy Tales, Off with their Heads! Fairy Tales and the Culture of Childhood, and The Classic Fairy Tales: A Norton Critical Edition.1 She has recently come out with a new book, an edited collection of twenty-six tales all illustrated, marginally annotated, and a number of them retranslated for the occasion, the result being The Annotated Classic Fairy Tales, a painstakingly produced, lavishly decorated volume that would grace any library.In addition to commenting, in the volume's elegantly wide margins, on each of the included tales, Tatar has arranged to have this new compilation ornamented with small colored reproductions of both rare and famous images associated with the tales by distinguished illustrators of the nineteenth and early twentieth centuries — artists such as Gustave Doré, Edmund Dulac, Walter Crane, Maxfield Parrish, and Arthur Rackham. While small in size and often not quite as clear as one might ideally wish (I found myself longing for some sorcery that would blow them up to full size so as to be able to feast my eyes on their wealth of detail and imaginative splendor), these images grace the text and greatly enhance its pleasures. Their presence, in fact, is one of the factors that makes this book unique. I know of no other extant work where a comparable effort has been made to join the fairy tales with a multiplicity of their most celebrated illustrations. The effect is astonishing. Readers are either transported directly back into their own early childhoods or newly acquainted with a brilliant visual canon parallel to that of the fairy [End Page 113] tales themselves. I predict it will be a rare reader who, after seeing this book, will not be desirous of learning more about the artists whose works are reproduced here. To further that end and to begin to satisfy the desire she must have known she would create, Tatar has supplied her readers with a section of mini-biographies and bibliographies not only of the authors and collectors of the fairy tales themselves (most notably, Charles Perrault, the brothers Wilhelm and Jacob Grimm, and Hans Christian Andersen) but of the illustrators. For this felicitous marriage — of word and image, of story and picture — her endeavor deserves our gratitude.Rather than take this tasteful treasure trove as a culmination of Tatar's pre-existing work, which, in a certain sense, it is, I prefer to see it as a lure that entices readers to revisit her earlier volumes which, while of recognized scholarly import and interpretive richness, all tackle questions pertinent not only to folklorists and to historians of literature but to all of us who, in the wake of recent history, have come to wonder ever more anxiously what sort of tales we ought to be telling children and ourselves and how and why. This question, incidentally, returns us to Book II of Plato's Republic, where Socrates poses this question directly to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely ChildEllen Handler SpitzThere was the child, listening to everything...—Yasunari Kawabata1IntroductionPicture-book characters spring to life in both verbal and visual registers. Moving about the page before our eyes as well as speaking and acting in their respective stories, they often make a long-lasting impact on children. Pictures and words, moreover, may overlap but are never commensurate; like (...) the words and notes of a song, they mean and evoke differently even while being experienced together. This brief essay considers a small selection of works by two distinguished twentieth-century American authors-artists: William Steig (1907–2003) and Maurice Sendak (b. 1928). It argues that, with their artful words and pictures, Steig and Sendak construct very different—even contrasting—visions of childhood. By “ethos” in this context I mean to suggest a vision of what a child is, a sense of what it means both to be a child and to address one. Such visions differ not only through the ages and from one culture and locale to another but also from one author-artist of the same period and locale to another. Invited to speak on Sendak’s and Steig’s respective works at meetings scheduled just a week apart in New York City during the winter of 2007, I found in these paired invitations a fortuitous opportunity to juxtapose several of their works and thereby discover some arresting contrasts and formulate the following readings.2First, a word on the topic of methodology. Nearly one hundred years have elapsed since Freud published his celebrated-cum-notorious foray into psychobiography with Leonardo da Vinci and a Memory of His Childhood,3 wherein shards of circumstantial biographical evidence were laid out in seductive mosaic patterns secured with a grout of ingenious speculation. Despite subsequent decades of critical reflection, Freud’s method soldiers on nonetheless as a modus operandi in the psychological interpretation of art and literature.4 By bracketing a small selection of Steig’s and Sendak’s works here and limiting myself to extracting a tentative underlying ethos from them, I am [End Page 64] taking the position that to write psychologically one need not mention or exploit a creator’s personal life. This essay points gently toward psychological approaches that ask what we can see when we look carefully at the pages of works. What can we find when we share children’s books with children? Why, for example, has Sendak’s Where the Wild Things Are sold over seventeen million copies (and its Amazon rank last time I checked was around 145, which means that only 144 other books in the United States were selling more copies at that particular moment), whereas his later work Outside Over There—a book that apparently figures prominently in his personal life—comes nowhere close?5 While market figures do not correlate flawlessly with children’s actual preferences (adults, not children, are the buyers), I would aver that, in this case, they do reflect the success and beloved status of Where the Wild Things Are, since the figures tally with additional facts: the book continues to appeal in its fifth decade post publication; it is known and has been translated worldwide, dramatized, and set to music6; and its characters have been fashioned into ubiquitous stuffed toys. On the other hand, in my (limited) experience, young children seem to find Outside Over There unsettling, unintelligible, even “creepy” and often have trouble sitting still through a full rendition. Some adults, on the other hand, praise that book as poetic and admire its more complex art. Such discrepancies in reception deserve our attention; they hint at fallow fertile fields lying over the rainbow, far beyond the much-plowed tracts of authorial psychobiography. This essay gestures casually toward those fields.The Connected Child“My dear Deborah,” said Doctor De Soto, “you must have been reading my mind.7Let’s begin with William Steig, who is best known for his New Yorker cartoons. His work for children extends back to 1968,8 however, when he was already a man in his sixties. Setting aside the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Child's Creation of a Pictorial WorldEllen Handler SpitzThe Child'S Creation of a Pictorial World, by Claire Golomb. Mahwah, New Jersey: Erlbaum, 2004, 388 pp.Children's drawings fill us with wonder and delight. They may tend, however, to puzzle us, especially if we seek to comprehend them in terms appropriate to the drawings of mature artists or in terms relevant for other pictorial forms and expressions. Likewise, they (...) may puzzle us if we make the mistake of supposing that they represent in any direct or obvious way the cognitive development of young children or if we see them only as comical, inept efforts at depicting external reality. Children's drawings stimulate many nagging questions, among them the one as to why it should be that a child who knows so much and who is verbally so articulate may be graphically capable of depicting so little.Claire Golomb's work has proven extraordinarily helpful here as a corrective because Golomb, after many years of research and reflection, writes about these youthful creations not as "print-outs" of a child's mind. She sees them, rather, as exemplars of particular visual representational schemata that are generally available to and employed by young children. And although she regards these schemata as universal, she acknowledges that they are clearly subject to a wide range of individual variability. Over all, the value of Golomb's work lies in her extensive, descriptive research. Acknowledging her intellectual debt to her mentor, Rudolph Arnheim, Golomb reminds her readers that representation is never mimesis pure and simple. Representation is never, she tells us, the result of an "intention to copy nature." Therefore, when young children do otherwise, they ought not to be seen as failing. Their drawings ought not to be viewed as unsuccessful attempts to imitate nature or to depict with faithful realism what appears before their eyes. Rather, as Golomb states and attempts to demonstrate throughout the pages of her well-illustrated volume, children employ graphic schemata that develop over time in terms of shape, color, content, and composition. Ever seeking meaning, children create pictorial worlds that, while they have no one-to-one correlation with the perceptual world, are tied to it, importantly, nonetheless.Golomb assiduously describes and illustrates each of her studies so that her readers are treated to a panorama of this "orderly progression," as she puts it, this evolution of children's graphic work. Her book, moreover, is characterized by a certain social scientific aura; that is to say, she proffers statistics and quantifies her data to prove her points. She takes pains to argue, for example, from research conducted in tandem, apparently, with her daughter, that it is extremely difficult to differentiate, prima facie, the drawings of children who have been diagnosed as disturbed from those who are considered normal. Having worked for a couple of years in a residential treatment center for schizophrenic children, I would aver that this claim might be debatable. However, were one to be [End Page 120] able to so differentiate, this might constitute a challenge to Golomb's theory that the representational schemata are, as she puts it, "robust." According to her findings, they remain more or less in tact. Likewise with regard to the issue of cultural variables. Here Golomb argues, gently and respectfully, against positions taken by two other well-known scholars in the field, Brent and Marjory Wilson, who accord a higher priority than she does to cultural differences. According to the Wilsons, children's drawings are importantly influenced by whatever graphic models are made available to them in a given culture. For Golomb, however, these variables, while significant, do not interfere substantially with the universal classifications she proposes. As she writes, "The drawings of young children are as different one from another as fingerprints, yet they can be classified" (357).In general, then, the body of work Golomb offers in this second edition of her first volume published under the same title in 1992 by the University of California Press importantly contributes, as it initially did, to ongoing research in numerous fields, including art education, early childhood studies, art history, developmental psychology, anthropology, and art... (shrink)

Music can reduce stress and anxiety, enhance positive mood, and facilitate social bonding. However, little is known about the role of music and related personal or cultural variables in maintaining wellbeing during times of stress and social isolation as imposed by the COVID-19 crisis. In an online questionnaire, administered in 11 countries, participants rated the relevance of wellbeing goals during the pandemic, and the effectiveness of different activities in obtaining these goals. Music was found to be the most effective activity (...) for three out of five wellbeing goals: enjoyment, venting negative emotions, and self-connection. For diversion, music was equally good as entertainment, while it was second best to create a sense of togetherness, after socialization. This result was evident across different countries and gender, with minor effects of age on specific goals, and a clear effect of the importance of music in people's lives. Cultural effects were generally small and surfaced mainly in the use of music to obtain a sense of togetherness. Interestingly, culture moderated the use of negatively valenced and nostalgic music for those higher in distress. (shrink)

Toward the middle of her evocative, deeply personal new book, Ellen Handler-Spitz reflects, “What is the purpose of keeping secrets from children? What are the effects?” Parents, she continues, often seek to protect children from challenging pasts or fearful presents. We often, too, seek to shield children from our own mistakes. “Doubtless,” she avers, “we have performed acts of which we cannot feel proud.” Keeping silent is no good. But how, she asks again, “should we talk about the (...) past?” Professor Handler-Spitz’s provocations raise important, larger questions about how we rear our children. But this is not a handbook of upbringing. It is, instead, something of a guide to the imagination. In this .. (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)

D. W. Winnicott is increasingly recognized as one of the most important psychoanalysts since Freud, but the relevance of his Independent version of object relations theory to psychoanalytic literary criticism has not been sufficiently appreciated. As Peter L. Rudnytsky notes, "There must be ten literary critics conversant with Lacan's ecrits for every one who has read Winnicott's Playing and Reality." Transitional Objects and Potential Spaces begins to redress this imbalance. The title and subtitle of this collection highlight three of Winnicott's (...) key concepts: transitional objects, potential space, and the use of an object. Because Winnicott is unique in respecting the integrity of art as an autonomous human activity while continuing to insist on its infantile origins, he may be said to offer the first adequate psychoanalytic account of aesthetics. This volume is organized into three sections: The Analytic Frame, Literary Objects, and Cultural Fields. Beginning with Winnicott's "The Location of Cultural Experience," it features essays by a distinguished group of contributors, including Marion Milner and two current leading members of the British Psycho-Analytical Society, Christopher Bollas and Patrick J. Casement, as well as such eminent critics as Richard Poirier, Murray M. Schwartz, Ellen Handler Spitz, and Madelon Sprengnether. Transitional Objects and Potential Spaces makes a timely and persuasive case for the power of Winnicott's ideas. In defining for the first time an independent tradition of psychoanalytic criticism, it will reorient future work in literary and cultural studies. (shrink)

This is the first feminist special issue of The Journal of Aesthetics and Art Criticism. Introduction written by Brand [Weiser] and Korsmeyer with essays by Hilde Hein, Paul Mattick, Jr., Timothy Gould, Joanne B. Waugh, Joseph Margolis, Mary Devereaux, Noel Carroll, Flo Leibowitz, Anita Silvers, Elizabeth Ann Dobie, Renee Cox, and Ellen Handler Spitz. A fuller publication from Indiana University Press followed in 1995 edited by Brand [Weiser] and Korsmeyer entitled, Feminism and Tradition in Aesthetics.

Close-reading sequential comics and cartoons such as He Zhu’s “Lockdown,” Rivi Handler-Spitz’s “Morning Commute,” Yang Ji’s “Quarantine,” and Thi Bui, Will Evans, Sarah Mirk, Amanda Pike, and Esther Kaplan’s “In/Vulnerable,” this article investigates the networked spatial crises that have emerged during COVID-19. As the global pandemic reshaped social, economic, and cultural landscapes, it is crucial to understand the spatial implications of these transformations. By analyzing graphic medical texts, which serve as visual narratives that capture the lived experiences and (...) perceptions of individuals within these crises, the present essay offers a nuanced exploration of the intricate relationships between space, society, and the effects of the pandemic. The article identifies and examines the various spatial crises that have emerged in the COVID era, such as disrupted urban environments, altered social dynamics, spaces of contamination, contraction of space, and the reconfiguration of workspaces. Drawing on theorists like Michael Foucault and Henri Lefebvre, this essay illustrates how these crisis-induced spatial transformations are represented, experienced, and contested. Ultimately, the article not only contributes to a deeper understanding of the complex interplay between the pandemic and space but also addresses the challenges of our evolving world. (shrink)

This is the co-authored--with Carolyn Korsmeyer--Introduction to the first published feminist scholarship in The Journal of Aesthetics and Art Criticism (Volume 48, Number 4, Fall 1990). Contributors included Hilde Hein, Paul Mattick, Jr., Timothy Gould, Joanne B. Waugh, Joseph Margolis, Mary Devereaux, Noel Carroll, Flo Leibowitz, Anita Silvers, Elizabeth Ann Dobie, Renee Cox, and Ellen Handler Spitz. All essays were subsequently published in an expanded book version entitled, Feminism and Tradition in Aesthetics by Penn State Press (1995).

Temporariness has become the norm in contemporary refugee protection. Many refugees face extended periods of time waiting for permanent status, either in camps or living among citizens in their state of asylum. Whilst this practice of keeping refugees waiting is of benefit to states, I argue that not only is it harmful to refugees but it also constitutes an injustice. First, I outline the prevalence of temporary assistance in the refugee protection regime. Second, I outline the orthodox view on temporary (...) refugee protection – it is acceptable as long as it is not indefinite. I then spend the remainder of the article considering four arguments against temporary refugee protection: the plan argument, the reciprocity argument, the domination argument, and the compounding injustice argument. I contend that the first two arguments, which already feature in the literature, merely show that temporary protection is harmful to refugees. My own arguments on domination and compounding injustice show, instead, that giving refugees temporary protection constitutes an injustice. The domination argument allows us to critique the current practice of temporary refugee protection, whereas the compounding injustice argument shows that temporariness in any form constitutes an injustice. (shrink)

Thomas Reid draws a distinction between the social and solitary operations of mind—acts of mind that require other intelligent beings versus those that may performed on one’s own. Yet his distinction obscures the irreducibly social character of the solitary operations. This paper preserves Reid’s distinction while accommodating the social character of the solitary operations. According to Reid, the solitary operations presuppose the social operations, expressed in what he calls the ‘natural language’ of mankind—a language that communicates the intentions that give (...) rise to the agreements by which the conventions of artificial languages are developed. Using artificial languages, we begin to sort the world into kinds and to anticipate the regular events that make a practical difference in our lives, providing the general conceptions that give our trains of thought the order and regularity required to form the solitary operations. By using artificial languages, we adapt social operations to solitary ends, to think alone and in silence. (shrink)

In the UK, it has been proposed that alongside the current advice to abstain from alcohol completely in pregnancy, there should be increased screening of pregnant women for alcohol consumption in order to prevent instances of fetal alcohol spectrum disorder. The Scottish Intercollegiate Guidelines Network published guidelines in 2019 recommending that standardised screening questionnaires and associated use of biomarkers should be considered to identify alcohol exposure in pregnancy. This was followed in 2020 by the National Institute for Health and Care (...) Excellence Draft Quality Standard, which recommended that pregnant women should have information on their alcohol consumption recorded throughout their pregnancy and this information transferred to the child’s health records. Most recently, Public Health England has stated that the alcohol intake of all women should be recorded throughout pregnancy, not just at the initial booking appointment and that tools such as blood biomarkers and meconium testing should be researched in order to determine true prevalence rates of alcohol in pregnancy. We argue that this proposed enhanced screening undermines women’s autonomy and their legal right to be sufficiently informed to consent to screening. We argue that there is no evidence that this kind of screening will result in a reduction of fetal harm and there is a danger that undermining the autonomy of women and the trust relationship between women and healthcare professionals may even increase harm to future children. (shrink)

The conversation analytic view of context is often critiqued as being too narrow. In this article, we join the ongoing debate regarding conversation analysis and context by 1) synthesizing existing scholarly attempts at either conceptualizing or exploring the possibilities of combining CA and ethnography and 2) giving further considerations to whether or how resorting to talk-extrinsic data may be beneficial. We do so by providing four illustrative cases, with increasing complexity, from four different settings. In each case, an initial CA (...) analysis is followed up with an informal ethnographic interview with the participants. By offering some specificity to this ongoing methodological controversy regarding talk-extrinsic data, we aim to begin building a useful framework within which further discussions on analysis, context, and cross-fertilization may proceed. (shrink)

This paper reconsiders the contemporary moral reading of women’s oppression, and revises our understanding of the practical reasons for action a victim of mistreatment acquires through her unjust circumstances. The paper surveys various ways of theorising victims’ moral duties to resist their own oppression, and considers objections to prior academic work arguing for the existence of an imperfect Kantian duty of resistance to oppression grounded in self-respect. These objections suggest that such a duty is victim blaming; that it distorts the (...) normative direction of self-regarding duties; and that consequentialist reasons are inapt for justifying self-regarding ethical responsibilities. The paper then argues that the need for normative coherence in our very concept of a moral duty is of paramount importance, and especially so in the fight against patriarchal oppression. Accordingly, we should acknowledge the salient differences between pro tanto or defeasible moral reasons and fully fledged moral duties identifying agent-relative obligatory action. The paper concludes that we better respect and defend women’s rights when first we understand them as having, at best, defeasible moral reasons to oppose their oppression; and second, ensure that we make adequate allowance for a woman’s interpretative right to choose how to respond to her oppressive circumstances. (shrink)

Organisations increasingly use digital nudges to influence their workforces’ behaviour without coercion or incentives. This can expose employees to arbitrary domination by infringing on their autonomy through manipulation and indoctrination. Nudges might furthermore give rise to the phenomenon of “organised immaturity.” Adopting a balanced approach between overly optimistic and dystopian standpoints, I propose a framework for determining the moral permissibility of digital nudging in the workplace. In this regard, I argue that not only should organisations provide pre-discursive justification of nudges (...) but they should also ensure that employees can challenge their implementation whenever necessary through legitimation procedures. Building on Rainer Forst’s concept of the right to justification, this article offers a way to combine contract- and deliberation-based theories for addressing questions in business ethics. I further introduce the concept of meta-autonomy as a capacity that employees can acquire to counter threats of arbitrary domination and to mitigate organised immaturity. (shrink)

This history of philosophy is a history of men. Or at least, that’s how it has been told over the past several hundred years. But, over the last few decades, we’ve begun to see more and more recognition of women philosophers and the huge impact that they have had on the course of our discipline. There have always been philosophers who happened to be women. Hypatia of Alexandria was known by her contemporaries simply as The Philosopher, and hundreds of young (...) men travelled from throughout the region to attend her public lectures. Philosophers who happen to be women, then, are nothing new. But our failure to recognise them as full contributors to the subject makes them appear to us as something of a surprise. A result of this is that women are often remembered as women first: they are seen more as women than they’re seen as philosophers. (shrink)

Many people are worried about developing dementia, fearing the losses and burdens that accompany the condition. Dementia‐specific advance directives are intended to address dementia's progressive effects, allowing individuals to express their treatment preferences for different stages of the condition. But enthusiasm for dementia‐specific advance directives should be tempered by recognition of the legal, ethical, and practical issues they raise. Dementia‐specific advance directives are a simplistic response to a complicated situation. Although they enable people to register their future care preferences, in (...) many cases, those preferences will not, and should not, determine their later care. (shrink)

This paper provides a case example of interventionist discourse analysis as a tool to provoke organizational change. I focus on one ‘nexus of practice’ [Scollon, R., & Scollon, S. (2004). Nexus analysis: Discourse and the emerging internet. Routledge] – the Educating for Change Curriculum Conference – across 11 years to illustrate how the analysis was used to contribute to racial justice efforts. The paper contributes to a methodological and theoretical trajectory in the field of Critical Discourse Studies focused on how (...) discourse analysis can contribute to justice-oriented efforts. (shrink)

In ancient literature and religion, Hercules—in common with many other deities—is frequently associated with particular trees or types of tree. There are tales connecting him with the wild olive, laurel and oak, but his most prominent and frequent arboreal link is with the poplar, an association mentioned twice in the Hercules-heavy first half of Aeneid Book 8. The festival of Hercules celebrated by Evander and his people takes place just outside the city within a ‘great grove’ of unspecified species, in (...) an area surrounded by less defined expanses of trees. Trees crowd the banks of the Tiber, leaning out for wonder as Aeneas’ fleet passes by and soon uariisque teguntur | arboribus, uiridisque secant placido aequore siluas ; looking up through the sacrificial smoke on the altars, Pallas and his friends are initially frightened ut celsas uidere rates atque inter opacum | adlabi nemus. When Evander later shows Aeneas around, the emphasis on trees recurs, with the huge grove destined to become Romulus’ Asylum, and the bramble- and god-haunted woods of the Capitol. Later, Aeneas and his men camp in a vast grove of Silvanus, as Venus approaches to bring her son his new shield. (shrink)

BackgroundPast research shows that physicians experience high ill-being but also high well-being.ObjectiveTo shed light on how medical faculty’s experiences of their job demands and job resources might differentially affect their ill-being and their well-being with special attention to the role that the work-life interface plays in these processes.MethodsQualitative thematic analysis was used to analyze interviews from 30 medical faculty at a top research hospital in Canada.FindingsMedical faculty’s experiences of work-life conflict were severe. Faculty’s job demands had coalescing effects on their (...) stress, work-life conflict, and exhaustion. Although supportive job resources helped to mitigate the negative effects of job demands, stimulating job resources contributed to greater work-life conflict, stress, and exhaustion. Thus, for these medical faculty job resources play a dual-role for work-life conflict. Moreover, although faculty experienced high emotional exhaustion, they did not experience the other components of burnout. Some faculty engaged in cognitive reappraisal strategies to mitigate their experiences of work-life conflict and its harmful consequences.ConclusionThis study suggests that the precise nature and effects of job demands and job resources may be more complex than current research suggests. Hospital leadership should work to lessen unnecessary job demands, increase supportive job resources, recognize all aspects of job performance, and, given faculty’s high levels of work engagement, encourage a climate that fosters work-life balance. (shrink)

Adaptive behavior critically depends on performance monitoring, the ability to monitor action outcomes and the need to adapt behavior. PM-related brain activity has been linked to guiding decisions about whether action adaptation is warranted. The present study examined whether PM-related brain activity in a flanker task, as measured by electroencephalography, was associated with adaptive behavior in daily life. Specifically, we were interested in the employment of self-control, operationalized as self-control failures, and measured using ecological momentary assessment. Analyses were conducted using (...) an adaptive elastic net regression to predict SCFs from EEG in a sample of 131 participants. The model was fit using within-subject averaged response-locked EEG activity at each electrode and time point within an epoch surrounding the response. We found that higher amplitudes of the error-related negativity were related to fewer SCFs. This suggests that lower error-related activity may relate to lower recruitment of interventive self-control in daily life. Altered cognitive control processes, like PM, have been proposed as underlying mechanisms for various mental disorders. Understanding how alterations in PM relate to regulatory control might therefore aid in delineating how these alterations contribute to different psychopathologies. (shrink)

Some research is too risky to be conducted on anyone whose life expectancy is more than a few hours. Yet sometimes, the research can still be carried out using subjects who are brain dead or are soon to undergo a terminal wean, and who have articulated values that inclusion in the study can honor. So argues a team of ethicists and researchers at M.D. Anderson Cancer Center, where such research was recently undertaken.