Bookmark and Share

Feminist Aesthetics

Edited by Sheila Lintott (Bucknell University)
Assistant editor: Peg Brand (Indiana University Purdue University, Indianapolis)
About this topic
Related categories
Siblings:
156 found
Search inside:
(import / add options)   Order:
1 — 50 / 156
  1. Richard Allen (1995). Projecting Illusion: Film Spectatorship and the Impression of Reality. Cambridge University Press.
    Projecting Illusion offers a systematic analysis of the impression of reality in the cinema and the pleasure it gives to the film spectator. Film provides a compelling experience that can be considered as a form of illusion akin to the experience of day-dream and dream. Examining the concept of illusion and its relationship to fantasy in the experience of visual representation, Richard Allen situates his explanation within the context of an analytical criticism of contemporary film and critical theory. He argues (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography   1 citation  
  2. Robert Alter (1994). Criticism as Provocation: Sexual Personae: Art and Decadence From Nefertiti to Emily Dickinson, by Camille Paglia. [REVIEW] Arion 1 (3).
  3. Charlotte Annerl (1992). Feministische Ästhetik. Die Philosophin 3 (5):88-90.
    Remove from this list  
    Translate
      Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  4. Evelyn Annuß (1998). Phantasie. Die Philosophin 9 (17):84-90.
    Remove from this list  
    Translate
      Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  5. Mercedes Arriaga Flórez (ed.) (2006). Sin Carne: Representaciones y Simulacros Del Cuerpo Femenino: Tecnología, Comunicación y Poder. Arcibel Editores.
  6. Ismay Barwell (1990). Feminine Perspectives and Narrative Points of View. Hypatia 5 (2):63 - 75.
    The search for a unified and coherent feminine aesthetic theory could not be successful because it relies upon "universals" which do not exist and assumes simple parallels among psychological, social and aesthetic structures. However, with an apparatus of narrative points of view, one can demonstrate that individual narrative texts are organized from a feminine point of view. To this extent, the intuition that there is a feminine aesthetic can be vindicated.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  7. Karen-Edis Barzman (1994). Beyond the Canon: Feminists, Postmodernism, and the History of Art. Journal of Aesthetics and Art Criticism 52 (3):327-339.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography   2 citations  
  8. Christine Battersby (1989). Gender and Genius: Towards a Feminist Aesthetics. Indiana University Press.
  9. Merrie Bergmann (1986). How Many Feminists Does It Take to Make A Joke? Sexist Humor and What's Wrong with It. Hypatia 1 (1):63 - 82.
    In this paper I am concerned with two questions: What is sexist humor? and what is wrong with it? To answer the first question, I briefly develop a theory of humor and then characterize sexist humor as humor in which sexist beliefs (attitudes/norms) are presupposed and are necessary to the fun. Concerning the second question, I criticize a common sort of argument that is supposed to explain why sexist humor is offensive: although the argument explains why sexist humor feels offensive, (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography   2 citations  
  10. Rosemary Betterton (2006). Promising Monsters: Pregnant Bodies, Artistic Subjectivity, and Maternal Imagination. Hypatia 21 (1):80-100.
    : This paper engages with theories of the monstrous maternal in feminist philosophy to explore how examples of visual art practice by Susan Hiller, Marc Quinn, Alison Lapper, Tracey Emin, and Cindy Sherman disrupt maternal ideals in visual culture through differently imagined body schema. By examining instances of the pregnant body represented in relation to maternal subjectivity, disability, abortion, and "prosthetic" pregnancy, it asks whether the "monstrous" can offer different kinds of figurations of the maternal that acknowledge the agency and (...)
    Remove from this list   Direct download (10 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  11. Carol Bigwood (1993). Earth Muse: Feminism, Nature, and Art. Temple University Press.
  12. Barbara Bolt (2000). Shedding Light for the Matter. Hypatia 15 (2):202-216.
    : This paper critiques enlightenment notions of representation and rehearses an alternative model of mapping that is grounded in performance. Working from her own practice as a landscape painter, Bolt argues that the particular experience of the "glare" of Australian light fractures the nexus between light, form, knowledge, and subjectivity. This rupture prompts a move from shedding light ON the matter to shedding light FOR the matter and suggests an emergent rather than a representational practice.
    Remove from this list   Direct download (10 more)  
     
    Export citation  
     
    My bibliography  
  13. L. Ryan Musgrave Bonomo (2010). Addams's Philosophy of Art : Feminist Aesthetics and Moral Imagination at Hull House. In Maurice Hamington (ed.), Feminist Interpretations of Jane Addams. Pennsylvania State University Press
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  14. Lynda S. Boren & Sara Desaussure Davis (1992). Kate Chopin Reconsidered Beyond the Bayou.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  15. Rosi Braidotti (2010). Allegro, Ma Non Troppo : On Feminist Becomings. In Henk Oosterling & Ewa Płonowska Ziarek (eds.), Intermedialities: Philosophy, Arts, Politics. Lexington Books
  16. Rosi Braidotti (1991). The Subject in Feminism. Hypatia 6 (2):155 - 172.
    Inaugural lecture as Professor of Women's Studies in the Arts Faculty of the University of Utrecht, May 16, 1990.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  17. Peg Brand (2007). Feminism and Aesthetics. In Linda Alcoff & Eva Feder Kittay (eds.), The Blackwell Guide to Feminist Philosophy. Blackwell Pub.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  18. Peg Brand (2006). Feminist Art Epistemologies: Understanding Feminist Art. Hypatia 21 (3):166 - 189.
    Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  19. Peg Zeglin Brand (1999). Glaring Omissions in Traditional Theories of Art. The Proceedings of the Twentieth World Congress of Philosophy 1999:177-186.
    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,” (...)
    Remove from this list   Direct download (2 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  20. Peggy Zeglin Brand (2006). Feminist Art Epistemologies: Understanding Feminist Art. Hypatia 21 (3):166-189.
    : Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a (...)
    Remove from this list   Direct download (5 more)  
     
    Export citation  
     
    My bibliography  
  21. Peggy Zeglin Brand & Mary Devereaux (2003). Introduction: Feminism and Aesthetics. Hypatia 18 (4).
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  22. Somer Brodribb (1992). Nothing Mat(T)Ers: A Feminist Critique of Postmodernism. Spinifex Press.
    "An eloquent work. Somer Brodribb not only gives us a feminist critique of postmodernism with its masculinist predeterminants in existentialism, its Freudian footholdings and its Sadean values, but in the very form and texture of the critique, she literally creates new discourse in feminist theory. Brodribb has transcended not only postmodernism but its requirement that we speak in its voice even when criticizing it. She creates a language that is at once poetic and powerfully analytical. Her insistent and compelling radical (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography   2 citations  
  23. Barbara Brook, Gail Weiss, Honi Fern Haber, Jane Arthurs & Jean Grimshaw (2004). Feminist Perspectives on the Body. Hypatia 19 (2):160-169.
  24. Norma Broude (1997). Impressionism a Feminist Reading : The Gendering of Art, Science, and Nature in the Nineteenth Century.
  25. Curtis Brown (2002). Art, Oppression, and the Autonomy of Aesthetics. In Alex Neill & Aaron Ridley (eds.), Arguing About Art, Second Edition. Routledge
    Mary Devereaux has suggested, in an overview of feminist aesthetics[1], that feminist aesthetics constitutes a revolutionary approach to the field: "aesthetics cannot simply 'add on' feminist theories as it might add new works by [ Nelson ] Goodman, Arthur Danto or George Dickie. To take feminism seriously involves rethinking our basic concepts and recasting the history of the discipline." In particular, feminist theory involves a rejection of "deeply entrenched assumptions about the universal value of art and aesthetic experience." Overthrowing these (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  26. Nathaniel Brown (1979). Sexuality and Feminism in Shelley.
  27. Ann J. Cahill (2003). Feminist Pleasure and Feminine Beautification. Hypatia 18 (4):42-64.
    : This paper explores the conditions under which feminine beautification constitutes a feminist practice. Distinguishing between the process and product of beautification allows us to isolate those aesthetic, inter-subjective, and embodied elements that empower rather than disempower women. The empowering characteristics of beautification, however, are difficult and perhaps impossible to represent in a sexist context; therefore, while beautifying may be a positive experience for women, being viewed as a beautified object in current Western society is almost always opposed to women's (...)
    Remove from this list   Direct download (10 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  28. Ann J. Cahill (2003). Feminist Pleasure and Feminine Beautification. Hypatia 18 (4):42-64.
  29. Charlotte Canning (1996). Feminist Theaters in the U.S.A. Staging Women's Experience.
  30. Joyce A. Carpenter (1994). Hilde Hein and Carolyn Korsmeyer, Eds., Aesthetics in Feminist Perspective Reviewed By. Philosophy in Review 14 (5):329-331.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  31. Tina Chanter (2006). Abjection and the Constitutive Nature of Difference: Class Mourning In. Hypatia 21 (3).
    : This essay examines the connections between ignorance and abjection. Chanter relates Julia Kristeva's notion of abjection to the mechanisms of division found in feminist theory, race theory, film theory, and cultural theory. The neglect of the co-constitutive relationships among such categories as gender, race, and class produces abjection. If those categories are treated as separate parts of a person's identity that merely interlock or intermesh, they are rendered invisible and unknowable even in the very discourses about them. Race thus (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  32. Tina Chanter (2006). Abjection and the Constitutive Nature of Difference: Class Mourning in Margaret's Museum and Legitimating Myths of Innocence in Casablanca. Hypatia 21 (3):86 - 106.
    This essay examines the connections between ignorance and abjection. Chanter relates Julia Kristeva's notion of abjection to the mechanisms of division found in feminist theory, race theory, film theory, and cultural theory. The neglect of the co-constitutive relationships among such categories as gender, race, and class produces abjection. If those categories are treated as separate parts of a person's identity that merely interlock or intermesh, they are rendered invisible and unknowable even in the very discourses about them. Race thus becomes (...)
    Remove from this list   Direct download (7 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  33. F. Collin (2010). Between Poiesis and Praxis: Women and Art. Diogenes 57 (1):83-92.
    If we think of artistic creation as a basic dimension of humanity we need to question the absence of female artists in history. We should also look at their gradual emergence in the late 20th century, an emergence that coincides with the feminist movement and a change in the conception of art itself, revealed chiefly by Duchamp. But does art by women have some specificity? Without giving a definite answer as far as subject matter is concerned, we note that the (...)
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  34. Paula M. Cooey (1994). Religious Imagination and the Body: A Feminist Analysis. Oxford University Press.
    In recent years feminist scholarship has increasingly focused on the importance of the body and its representations in virtually every social, cultural, and intellectual context. Many have argued that because women are more closely identified with their bodies, they have access to privileged and different kinds of knowledge than men. In this landmark new book, Paula Cooey offers a different perspective on the significance of the body in the context of religious life and practice. Building on the pathbreaking work of (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography   1 citation  
  35. Renée Cox (1990). A Gynecentric Aesthetic. Hypatia 5 (2):43 - 62.
    In the proposed gynecentric aesthetic, which follows the work of Heide Göttner-Abendroth and Alan Lomax, aesthetic activity would function to integrate the individual and society. Intellect, emotion and action would combine to achieve a synthesis of body and spirit. Song and dance would involve the equal expressions of all participants, and aesthetic structures would reflect this egalitarianism. The erotic would be expressed as a vital, positive force, divorced from repression and pornography. The emphasis would be off aesthetic objects to be (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  36. Jean Curthoys (1997). Feminist Amnesia: The Wake of Women's Liberation. Routledge.
    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 criticizes current trends in feminist theory from the perspective of forgotten and allegedly outdated feminist (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography   4 citations  
  37. Kathleen Kadon Desmond (2011). Ideas About Art. Wiley-Blackwell.
    Machine generated contents note: Acknowledgements. -- List of Illustrations. -- Preface. -- 1. Public Opinion/Public Art. -- 2. Non-Western Ideas. -- 3. Western Ideas. -- 4. Beauty. -- 5. Expression & Aesthetic Experience. -- 6. Art & Ethics. -- 7. Political Art, Censorship & Pornography. -- 8. Art & Economics. -- 9. Feminist Art, Aesthetics & Art Criticism. -- 10. Postmodern Art & Attitudes. -- 11. Photography & New Media. -- 12. (Re)Discovering Design. -- 13. Art & Aesthetic Education. -- (...)
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography  
  38. Claire Detels (1994). Autonomist/Formalist Aesthetics, Music Theory, and the Feminist Paradigm of Soft Boundaries. Journal of Aesthetics and Art Criticism 52 (1):113-126.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  39. Mary Devereaux (2003). Feminist Aesthetics. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press 647--666.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  40. Elizabeth Ann Dobie (1990). Interweaving Feminist Frameworks. Journal of Aesthetics and Art Criticism 48 (4):381-394.
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography  
  41. Jane Duran (2009). Education and Feminist Aesthetics: Gauguin and the Exotic. Journal of Aesthetic Education 43 (4):pp. 88-95.
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    My bibliography  
  42. A. W. Eaton (2008). Feminist Philosophy of Art. Philosophy Compass 3 (5):873-893.
    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.
    Remove from this list   Direct download (6 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  43. A. W. Eaton (2003). Where Ethics and Aesthetics Meet: Titian's Rape of Europa. Hypatia 18 (4):159 - 188.
    Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.
    Remove from this list   Direct download (8 more)  
     
    Export citation  
     
    My bibliography   3 citations  
  44. Farhang Erfani (2011). Iranian Cinema and Philosophy: Shooting Truth. Palgrave Macmillan.
    Introduction -- How orphans believe: Deleuze, national cinema and Majidi's The color of paradise. Deleuze: on realism and movement-Image -- Deleuze: neorealism (and a brief analysis of Kiarostami's life and nothing more) -- Majidi: The color of paradise -- Deleuze and Majidi: the faith of Mohammad -- "What are filmmakers for in needy times?" On Heidegger and Kiarostami's Taste of cherry -- An overview of Kiarostami's Taste of cherry and the question of the medium -- Heidegger on art and truth (...)
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  45. Betsy Ettorre (forthcoming). Feminist Pleasure and Feminine Beautification. Hypatia.
    Remove from this list  
     
    Export citation  
     
    My bibliography  
  46. Penny Florence & Nicola Foster (2000). Differential Aesthetics Art Practices, Philosophy and Feminist Understandings. Monograph Collection (Matt - Pseudo).
    Remove from this list  
     
    Export citation  
     
    My bibliography   2 citations  
  47. Marilyn French (1990). Is There a Feminist Aesthetic? Hypatia 5 (2):33 - 42.
    Literary art that is identifiably feminist approaches reality from a feminist perspective and endorses female experience. A feminist perspective demystifies patriarchal assumptions about the nature of human beings, their relation to nature, and the relation of physical and moral qualities to each other. To endorse female experience, the artist must defy or stretch traditional literary conventions, which often means offending or alienating readers. Traditional literary conventions are rooted in philosophical assumptions several thousand years old and still widely current. A third (...)
    Remove from this list   Direct download (4 more)  
     
    Export citation  
     
    My bibliography   1 citation  
  48. Joanna Frueh (2003). Vaginal Aesthetics. Hypatia 18 (4):137-158.
    : Based on the premise that ugliness looms large in both cultural and women's consciousness of vaginas, I create a representation of the vagina's beauty as rich and sweet. Smell, taste, and touch play predominant roles as I use scholarly analysis and my own autobiographical narratives and poems and poetic language in order to redress the vagina's culturally inherited ugliness.
    Remove from this list   Direct download (10 more)  
     
    Export citation  
     
    My bibliography  
  49. Mike Gane (2000). Jean Baudrillard: In Radical Uncertainty. Pluto Press.
    Presents Baudrillard’s key concepts and examines his contribution to the analysis of specific domains, such as postmodernism, feminism, technology, art, war, ...
    Remove from this list   Direct download  
     
    Export citation  
     
    My bibliography   1 citation  
  50. Mary D. Garrard (2010). Brunelleschi's Egg: Nature, Art, and Gender in Renaissance Italy. University of California Press.
    Introduction -- Great Mother Nature -- The gendering of nature as female : from prehistory through the Middle Ages -- Nature and art in the Quattrocento : from pupil to equal -- Technology and the mastery of physical nature : Brunelleschi and Alberti -- Genesis and the reproduction of life : Masaccio and Michelangelo -- The rebirth of Venus and the feminization of beauty : Botticelli -- A balance of power : pictorial metaphors for nature in transition -- Nature's special (...)
    Remove from this list  
     
    Export citation  
     
    My bibliography  
1 — 50 / 156