More than 70 years have passed since the debut of Wonder Woman in All Star Comics. To the wonder of many, Wonder Woman remains one of the most popular comic‐book superheroes of all time. Wonder Woman is a walking, and sometimes flying, paradox of attributions and images. This chapter explores the complexities of Wonder Woman's identity, as she navigates male and female spheres of existence to embody a modern American ideal. The critical feminist task is for women to transcend barriers (...) to freedom so they can begin to forge their identities and enjoy selffulfillment. Wonder Woman challenges established social roles and the assumed facticity of life by creating her identity in the world, an identity born out of sacrifice and pain. Wonder Woman's feminist spirit originates in her ancestry. Despite Wonder Woman's respect for her mother's authority and commitment to women's independence, romantic love prevails. (shrink)

In this paper, we describe Blackboard’s Online Journal program and explain how we use the online journal in a variety of philosophy courses. We outline our pedagogical motivation for using online journals and analyze how online journals help to improve our students’ ability to read, write and think philosophically. We analyze the strengths and weaknesses of online journals in comparison to online discussion boards. Finally, we address several concerns that philosophy teachers may have about using online journals.

Wakandan women can play stereotypically male roles because of the political construction of Wakandan identity. Wakandan women emerge, for starters, in a radically different cultural context than women of color in other countries and cultures. Despite their tacit representation of feminist ideals, Wakandan women resist the full‐throated feminism we associate with the modern era: the no‐husband, no‐children feminism championed by the French philosopher Simone de Beauvoir. In 1966 Black Panther, the Marvel comic superhero, made his debut during the height of (...) second‐wave feminism. Back in Wakanda, M'Baku's renouncement of Shuri's non‐domestic activities makes an implicit appeal to the feminine mystique. Recognizing feminist and womanist elements within Wakanda helps explain the masculine and feminine performances of Wakandan women. Demystifying Wakanda requires us to recognize and reckon with The Panther Mystique : uncoerced appropriations of masculine and feminine norms for the sake of collective, communal freedom. (shrink)

In this essay, I aim to identify and analyze the influence of Cartesian dualism on Rembrandt's pictorial representations of the self. My thesis is that Descartes and Rembrandt share concerns about philosophy's exploration of human nature, concerns rooted in mind–body dualism. Descartes's corpus bears witness to a growing skepticism about the relation between matter and extension. Likewise, Rembrandt's anatomy lessons lead the viewer to question the value of treating humans as scientific objects. I suggest that by reexamining Rembrandt's work in (...) light of the mind–body problem we generate a fuller understanding of Rembrandt's artistic critique and expression and Descartes's mature scientific thinking and abiding influence. My analysis centers on four Rembrandt paintings: The Anatomy Lesson of Doctor Nicolaes Tulp (1632); The Descent from the Cross (1632–1633); The Sacrifice of Abraham (1635); and The Anatomy Lesson of Doctor Joan Deyman (1656). (shrink)

This paper assesses the educational benefits of showing films in philosophy courses in four ways. First, a Socratic justification is given for why contemporary films are an effective means for raising philosophical questions, illustrating important philosophical concepts, and making philosophy more accessible. Second, the authors discuss several specific ways that films can be used to teach philosophy in introductory and upper-level courses. Third, the authors describe two ways that films can be effectively incorporated into a course: by showing them during (...) the classroom lecture period and by integrating films with assignments. Finally, the authors respond to four different types of objections to the use of films in the philosophy classroom. (shrink)

Using works written over the course of 1,500 years, considers philosophers’ autobiographies as a genre of philosophical writing.