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)

Overview essay of the field of feminist aesthetics updated Winter, 2021.

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 a future that unfortunately rests upon the same outdated foundation as the concept “art.”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)

In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...) replicating a cultural bias that links an artist to particular mental processes that are unnecessarily exclusive. An experiential account of creativity like the one recently advanced by Bence Nanay not only disadvantages those artists whose lived experiences reflect fewer social opportunities than their counterparts, but also invokes a concept of luck that undermines the role of originality within an artwork's overall aesthetic value. (shrink)

This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. Annotated (...) bibliography by Joshua Shaw. (shrink)

Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding (...) the other's approach. This essay will consider the legacy of the concept of disinterestedness for contemporary aesthetic theory in light of challenges posed by postmodern skepticism regarding the possibility of disinterestedness, and by the difficulties involved in appreciating political art with a disinterested attitude. My principle example of political art will be drawn from feminist art--the extraordinary and controversial performance art of the French artist, ORLAN. Unlike traditional philosophers, I will advocate that an interested stance toward art is, at times, inevitable and appropriate. I will also argue not only that feminist art--and by extension political art of all kinds--can be experienced disinterestedly, but that it should be. As a position inconsistent with both traditionalists and feminist critics of tradition, my recommendation of both disinterestedness and interestedness affords what I take to be the fullest and fairest experience of a work of art. (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).

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does solidarity (...) eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief. (shrink)

This essay examines the connections between the Miss America pageant and reality makeover television shows. We argue that televised performances of gender have shifted focus from the intensely scripted, out-of-touch Miss America to reality makeover shows that normalize cosmetic surgery as a means to become the ‘ideal’ woman. While both spectacles offer their viewers performances of femininity, these performances need to be understood as emerging from the cultural and political conditions in which they are produced. This difference in presentation of (...) the subjects of beauty pageants and makeover programmes speaks respectively to the changing role of media in the normalization of performances of femininity, as well as to the affiliation of many young women with post-feminist politics in the United States. (shrink)

Review of the artwork and essays created by conceptual and performance artist and philosopher Adrian Piper whose two-volume selected writings in meta-art and art criticism span 1968-1992. Addressing issues of "passing" and "crossing" for a woman of color and performing a male persona in public undergirds her explorations of identity, gender, and race. It is no coincidence that her deep commitment to making political art--in which the artist is an agent of social change--functions in tandem with her scholarly pursuits in (...) Kantian ethics. (shrink)

Most Americans believe that higher education is heading in the wrong direction. In Lewis Carroll’s Alice’s Adventures in Wonderland, the eponymous heroine’s tumble into a rabbit hole immerses her in a bizarre, surreal, disorienting universe. Has higher education fallen down the rabbit hole? This paper will examine the many ways that academe has become a peculiar, illogical, and topsy-turvy world where things are often the opposite of what we call them and of what we expect them to be. To restore (...) the credibility of our education system and make it of value to most students, it must be completely reimagined and, in fact, totally rebuilt from the ground up. (shrink)

In part one I review the literature, exposing some of the ambiguities, contradictions, and antinomies involved in the notion of communication. The literature presents us with two rather contradictory notions of communication: one rhetorical, the other responsible. Disparity between the two may be seen to jeopardize a new moral mandate to corporate business. In part two I develop more explicitly the models of rhetorical and responsible communication, locating the issue at the center of a solution to the problem of collective (...) responsibility. A proper exercise of corporate moral responsibility, I argue, is compatible only with a model of responsible communication. I conclude by challenging top management to strive toward a goal of responsible communication at all levels in their respective corporate institutions. (shrink)

In this unconventional article, Sarah Banet-Weiser, Rosalind Gill and Catherine Rottenberg conduct a three-way ‘conversation’ in which they all take turns outlining how they understand the relationship among postfeminism, popular feminism and neoliberal feminism. It begins with a short introduction, and then Ros, Sarah and Catherine each define the term they have become associated with. This is followed by another round in which they discuss the overlaps, similarities and disjunctures among the terms, and the article ends with how each (...) one understands the current mediated feminist landscape. (shrink)

Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!

_La Peste_, originally published in 1947 by the Nobel Prize-winning writer Albert Camus, chronicles the progression of deadly bubonic plague as it spreads through the quarantined Algerian city of Oran. While most discussions of fictional examples within aesthetics are either historical or hypothetical, Camus offers an example of "pestilence fiction." Camus chose fiction to convey facts--about plagues in the past, his own bout with tuberculosis at age seventeen, living under quarantine away from home for several years, and forced separation from (...) his wife who remained in Algiers while he was abroad in Nazi-occupied France. His own lived experiences undergird an imaginative account of shared human realities with which we can identify: vulnerability to the disease, isolation, fear, and finally humanitarianism. _The Plague_ teaches us to neither covet nor expect what we so casually took for granted. This collection of original essays on philosophical themes in _The Plague_ is of special relevance during and in the aftermath of Covid-19 but also provides reflections that will be of lasting value to those interested in this classic work of literature. The novel explores questions of enduring importance. Do we collectively meet the threshold of ethical behavior posed by Camus who wrote, "What's true of all the evils in the world is true of plague as well. It helps men to rise above themselves"? Or does the absurd undermine the compassionate? Do "heroes" dutifully fight a plague with "common decency," or does human nature resign itself to the normalization of uncontrollable suffering and death? There are myriad ways to approach the novel and this volume encourages readers to ponder human dilemmas in fictional Oran informed by our current pandemic. Series editor forward by Richard Eldridge. List of Contributors includes Steven G. Kellman, Jane E. Schultz, Andrew Edgar, Kathleen Higgins, Edward B. Weiser, Cynthia A. Freeland, and Margaret E. Gray; see "Introduction" by Peg Brand Weiser below. (shrink)

Not everyone faces “modern” death equally, whether in Oran or today’s world. In this chapter, I argue that the “difficulty” in Oran of “modern death” as described by Camus is still with us today in that Americans neither faced death together in any form of solidarity under the Trump administration nor faced death individually in any traditional “decent” manner (as proposed by the character Tarrou), that is, comforted by family or friends. One reason is overwhelming fear of death—what neuroscientists call (...) “existential anxiety”—that can motivate human behavior toward either selfishness or an ethics of care. As a result of lived experiences of the pandemic, a sense of “heroic solidarity” has perhaps been finally achieved that moves us from despair to hope, confirming Camus’s faith in humanity. (shrink)

This article proposes an analytical framework that combines Conversation Analysis, Positioning Theory, and Stance Analysis to study communalization and distinction as basic interactive mechanisms within group interactions. The framework is based on the premise that participants in multi-party interactions constantly manage the local demands of the ongoing conversation and turn-by-turn talk as well as implicitly or explicitly evoked references to global discourses, which in turn are closely related to the topic currently discussed. By considering both micro- and macro-contextual features in (...) the analysis of group interactions, it is possible to reach a deeper understanding of dynamic group activities. The framework has been empirically developed based on data from a study on epistemic positioning practices in adolescents’ group interactions about popular TV series in Germany. The data comprises ten videotaped focus group discussions that have been elicited in a school context. By applying the framework to the analysis of a single case from the corpus, insights can be gained, both on how group members’ finely adjust their epistemic and evaluative stances as well as on how the participants themselves interactively link their stances to broader discourses. (shrink)

Rhetorician Kenneth Burke’s theory of identification usefully demonstrates how communities are able to engage with difficult, opposing viewpoints as they develop or maintain a sense of shared identity. Identification, “establishing a shared sense of values, attitudes, and interests with [an audience],” is promoted dialogically in the modern national museum in a way that it is difficult for classrooms to emulate. This article examines dialogic national identification particularly through the focus in museums on certain key objects that serve as what Burke (...) termed “mythic images” that ambiguously unify multiple perspectives and translate their debates from the abstract to the concrete. By promoting the reflective identification of one’s personal memories with the collective memory of nationhood, national museums provide an aesthetic/pragmatic space for the dialogical embrace of a public identity that is not merely reflected in its exhibits but also continually reshaped by its visiting individuals. I end with the possibilities, or cautions, these mythic images suggest for varying types of communal identification—a tension inherent as well in Gert Biesta’s arguments for the meaning of a “good” education. (shrink)

Praxeology as theoretical concept has obtained growing attention in recent years, at the same time there is a lack of empirical findings upon its scope in applied research. The contributions of this volume prove the operational feasibility and heuristic capacity of the praxeological approach in an interdisciplinary perspective and based on specific research questions.".

Both books published in 1996 explore the role that gender plays in the psychology of art (dealing with both making and viewing), complicating current philosophical distinctions between the aesthetic and the cognitive, and providing new insights into basic topics in the history and psychology of perception, representation, and disinterestedness.

Review of 1989 text by Ralph A. Smith, noted art education scholar during the era of DBAE (Discipline Based Art Education), that criticizes the author's agenda to remedy the ills of the state of arts education, arts' secondary status to the sciences, pluralism, and popular ideologies of of contemporary culture as an agenda that is (below the surface) clearly conservative, male-centered, Eurocentric and elitist. My conclusion: "Educators, beware.".

In this paper, we show that God is portrayed in the Hebrew Bible and in the Rabbinic literature—some of the very Hebrew texts that have influenced the three major world religions of Judaism, Christianity, and Islam—as One who can be argued with and even changes his mind. Contrary to fundamentalist positions, in the Hebrew Bible and other Jewish texts God is omniscient but enjoys good, playful argumentation, broadening the possibilities for reasoning and reasonability. Arguing with God has also had a (...) profound influence upon Jewish humor, demonstrating that humans can joke with God. More specifically, we find in Jewish literature that humor’s capacity to bisociate between different domains of human experience can share a symbiotic relationship with argumentation’s emphasis on producing multiple, contested perspectives. Overall, once mortals realize that figures such as God can accept many perspectives through humor, teasing, arguing, criticism, and in at least one case, even lawsuits, a critical point emerges: citizens should learn to live, laugh, and reason with others with whom they disagree. (shrink)

The contention of this paper is that the marketing concept is but one aspect of a philosophy of business referred to by the authors as the framework for organizational success. This framework maintains that the marketing concept must work together with good management approaches and with ethical business practices in order to satisfy the needs and wants of the various publics of the organization — customers, employees, suppliers, society — and, in the long run, ensure the satisfaction of the needs (...) of the organization itself. The authors propose that focusing on one concept, and ignoring the other two aspects, is not likely to promote organizational success. (shrink)