Charlotte Perkins Gilman was a prominent and effective figure for social change in her prime, yet, despite her prodigious literary output, she had little direct influence on the generations immediately following her. Even before her death, all of her works were out of print. She has been the subject of increasingly widespread attention since her rediscovery, yet, although she was a stalwart advocate for women's rights, many of Gilman's views make hers a problematic revival. That Gilman has a (...) place in the history of feminism is undeniable, but how to situate her, and especially Herland, in relation to contemporary feminist thought remains a matter of debate. Feminist scholars have long been engaged in the question... (shrink)

Charlotte Perkins Gilman and John Dewey were both pragmatists who recognized the need to restructure the environment to bring about social progress. Gilman was even more of a pragmatist than Dewey, however, because she addressed problems he did not identify-much less confront. Her philosophy is in accord with the spirit of Dewey's work but in important ways, it is more consistent, more comprehensive and more radical than his instrumentalism.

O resgate da memória e dos trabalhos das filósofas pragmatistas que foi iniciado na década de 1990 por Charlene Haddock Seigfried culminou na revisão do cânone histórico do pragmatismo, ao qual foi adicionado uma série de novos nomes, entre eles, o de Charlotte Perkins Gilman (1860-1935). Embora mais conhecida no âmbito literário, Gilman foi considerada uma filósofa pragmatista em recentes interpretações devido tanto a sua proximidade contextual com os pragmatistas da idade de ouro, quanto a proximidade de seu (...) método reflexivo e de questões abordadas. O presente trabalho visa introduzir aos leitores de língua portuguesa essa relação a partir de fatos biográficos e de suas obras de não ficção. (shrink)

We read the roots of contemporary ecofeminism through the lens of feminist pragmatism. After indicating the general relation between ecofeminism and feminist pragmatism, we provide a detailed analysis of Charlotte Perkins Gilman’s saga Herland and With Her in Ourland to document the strong connection between these two traditions. Gilman’s congruencies with ecofeminism make clear that she was a forerunner and perhaps a foundation for contemporary ecofeminism. However, further analyses are needed to reveal the full import of this link (...) between ecofeminism and “ecofeminist pragmatism,” as well as bridge the gap between ecofeminist pragmatism and ecopragmatism, including environmental pragmatism. (shrink)

This paper examines Charlotte Perkins Gilman's connection with the evolutionist ideas of late nineteenth century Reform Darwinism. It focuses on the assumptions that her language and use of metaphor reveal, and upon her vision of human social evolution as a melioristic process through which the equality of the sexes must finally emerge.

“The sleeper awakes” is a convention of many literary utopias from the late nineteenth and early twentieth centuries. The plots of Edward Bellamy’s Looking Backward, William Morris’s News from Nowhere, and H. G. Wells’sWhen the Sleeper Wakes all famously involve a sleeping modern everyman who awakens to a future where the conflicts and contradictions of the burgeoning capitalist society have been resolved. The Bleilers identify dozens of other speculative novels from the same period employing this very device, such as William (...) Hudson’s A Crystal Age and Alvarado Fuller’s A.D. 2000.1 Chris Ferns has argued that this trope constitutes something of a “consoling... (shrink)

This article focuses on the pragmatist feminist theories of social reformer Charlotte Perkins Gilman and cultural anthropologist Margaret Mead. It begins by delineating Gilman's understanding of how the material-cultural environment affects the lives of women. Believing the American way of life to be too individualistic, Gilman developed a theory of social change aimed at generating more collectivist ways of living and promoting the economic independence of women. To achieve these ends, Gilman advocated for the reconstruction of the Victorian (...) nursery, which she believed would afford women the choice to pursue a professional career outside of the home, and promote the health of the community. Gilman's social theory is contrasted with that of Margaret Mead, who believed that plans for social reform are best left to readers. Rather than advocate for the adoption of an entirely new cultural practice, Mead sought to acquaint her culturally diverse American readership with the Samoan way of life, so that they might collectively decide how to best address the problem of choice facing young women in the 1920s. (shrink)

Attempts to understand recent changes in the canon of American literature through the aid of psychoanalytic theory.

By tracing its own narrative from the feminist pragmatism of the 1980s-2000s back to the avant-la-lettre feminist pragmatism of the Progressive Era, this chapter explores the use of narrative within feminist pragmatism. It pays particular attention to uses of narrative in Charlotte Perkins Gilman, Anna Julia Cooper and Jane Addams to reveal the usefulness of narrative as a feminist pragmatist mode of inquiry and of elucidating meaning. The chapter concludes with a brief suggestion of where feminist pragmatist narrative (...) may take us next. (shrink)

Examines the theories of Plato, Rousseau, Mary Wollstonecraft, Catherine Beecher, and Charlotte Perkins Gilman concerning the education of women.

From the mid-nineteenth century to the Gilded Age, Catharine Beecher and other American social reformers combined natural theology and evangelism to instruct their audiences how to lead healthy, virtuous, and happy lives. Worried about the consequences of urbanization, industrialization, unstable sexual and gender roles, and immigration, these “Christian physiologists” provided prescriptive scientific advice for hygiene and personal conduct based on the traditional norms of white, middle-class, Protestant domesticity. According to Beecher and her counterparts, the biosocial reproduction of ideal American households (...) promised to reverse the degeneration of men and women across the country and to ensure the long-term vitality of their children. Using evidence from Beecher, Harriet Beecher Stowe, Charlotte Perkins Gilman, and other nineteenth-century writers, I investigate the methods and aims of Christian physiology along with its relationships to natural theology, Darwinian feminism, and other reform movements. I also analyze how Beecher and her successors employed concepts including the machine, the tissue, the cell, and the germ to justify their conclusions about the optimal structure and functions of American society. Overall, I demonstrate how these actors leveraged the body and the family as mechanisms to produce healthy parents, children, and communities for an ailing nation. (shrink)

This paper addresses the appropriation of theories of evolution by nineteenth-century feminists, focusing on the critical response to Darwin's The Descent of Man by Eliza Burt Gamble and Antoinette Brown Blackwell and Charlotte Perkins Gilman's social evolutionism. For Gilman, evolutionism was a revolutionary resource for feminism, one of its greatest hopes. Gamble and Blackwell revisit Darwin's data with the aim of locating, amidst his ostensive conclusions to the contrary, his implicit "defense" of either the equality or the superiority (...) of women. This article identifies the reasons for, and limitations of, this enthusiasm. To some extent, the basis of this feminism is provided by its keen perception of disparities between what a text does, and what it says it is doing. But these feminists did not think through the implications for their own rhetoric about race hierarchy. Darwin's trope of the "savage" would return in the work of some of these feminists, occasionally displaced or rejected, but usually reiterated, and sometimes integral to the feminism in question. (shrink)

Clinical Ethics, Ahead of Print. This paper is a response to a recent BMJ Blog: ‘The duty to treat: where do the limits lie?’ Members of the Surrey Heartlands Integrated Care Service Clinical Ethics Group reflected on arguments in the Blog in relation to resuscitation during the COVID-19 pandemic.Clinicians have had to contend with ever-changing and conflicting guidance from the Resuscitation Council UK and Public Health England regarding personal protective equipment requirements in resuscitation situations. St John Ambulance had different guidance (...) for first responders.The situation regarding resuscitation led the CEG to consider ethical aspects of health care professionals’ responses to the need for resuscitation during COVID-19. Members agreed that professionals should, ideally, have the level of PPE required for an aerosol generating procedure. However, there was no consensus regarding professionals’ duty to care when this is not available. On the one hand, it was agreed that the casualty/patient’s interests regarding resuscitation should be prioritised due to professionals’ contract with the public and professional privilege. On the other hand, risk thresholds were considered relevant to individual decision-making and professionals’ duty to care. All agreed that decision-making should not be influenced by rewards or reprimands. It was agreed also that decisions to resuscitate should not be considered as moral heroism or supererogatory - regardless of PPE availability - but rather as ‘minimally decent’. We agreed that it may be acceptable for professionals, with good reasons, to opt out of resuscitation attempts and these should be reflected on and discussed before the event. (shrink)

Introduction -- Defining pluralism : Simon Pokagon, Ida B. Wells-Barnett, and Thomas fortune -- Evolution and American Indian philosophy -- Feminist resistance : Anna Julia Cooper, Jane Addams, and Charlotte Perkins Gilman -- Labor, empire and the social gospel : Washington Gladden, Walter Rauschenbusch, and Jane Addams -- A new name for an old way of thinking : William James -- Making ideas clear : Charles Sanders Peirce -- The beloved community and its discontents : Josiah Royce and (...) the realists -- War, anarchism, and sex : Emma Goldman and Margaret Sanger -- Democracy and social ethics : John Dewey -- Naturalism and idealism, fear, and conventionality : Mary Whiton Calkins and Elsie Clews Parsons -- Race riots and the color line : W. E. B. du Bois -- Philosophy reacts : Hartley Burr Alexander and Morris R. Cohen -- Creative experience : Mary Parker Follett -- Cultural pluralism : Horace Kallen and Alain Locke -- War and the rise of logical positivism : Otto Neurath and Rudolf Carnap -- Mccarthyism and American empiricism : Jacob Loewenberg, Henry Sheffer, C. I. Lewis, and Charles Morris -- The linguistic turn : Gustav Bergmann, May Brodbeck, and W. V. O. Quine -- Resisting the turn : Donald Davidson, Wilfrid Sellars, and the pluralist rebellion -- Philosophy outside : John Muir, Aldo Leopold, Joseph Wood Krutch, and Rachel Carson -- Economics and technology : Lewis Mumford, C. Wright Mills and John Kenneth Galbraith -- Politics : John Rawls, Robert Nozick, Michael Sandel, Martha Nussbaum, and Noam Chomsky -- Civil rights : Martin Luther King, Jr., Richard Wright and James Baldwin -- Black power : Malcolm X, James Cone, Audre Lorde, Bell Hooks, Angela Davis, and Cornel West -- Latin American American philosophy -- Red power, indigenous philosophy : Vine Deloria, Jr. and contemporary American Indian thought -- Feminism -- Engaged philosophy and the environment -- American philosophy today -- Recovering and sustaining the American tradition -- American philosophy revitalized -- The spirit of American philosophy in the new century. (shrink)

Storytelling is a central device in cultures of resistance, which enables us to trace back such cultures to precedents in the history of literature that in turn can furnish new strategies of resistance by providing narrative tactics. This paper argues that Charlotte Perkins Gilman’s short story The Yellow Wallpaper develops narrative tactics of resistance which can be fruitful for contemporary Mad Pride activism and poetic practices. To do so, I borrow a Foucauldian approach to account for how Gilman (...) challenges the psychiatric industrial medical complex in her writing. First, the story is contextualized in nineteenth-century American psychiatry, and some critical warnings on the writer’s position concerning liberation movements are offered. Subsequently, I focus on three narrative tactics of resistance deployed in The Yellow Wallpaper: (1) an indetermination of genre, (2) a tension between form and dementia, and (3) a double subjectivity in the oscillation between the pronouns “one” and “I”. Finally, the reassessment of Gilman’s writing from the lens of Disability Justice is summarized in two results: first, it strengthens the grounds of Mad Pride by imbricating it in American literary and philosophical canons and, second, it provides tactics to open spaces of resistance for contemporary authors in the movement. (shrink)

: This paper addresses the appropriation of theories of evolution by nineteenth-century feminists, focusing on the critical response to Darwin's The Descent of Man by Eliza Burt Gamble (The Evolution of Woman, 1893) and Antoinette Brown Blackwell (The Sexes Throughout Nature, 1875) and Charlotte Perkins Gilman's social evolutionism. For Gilman, evolutionism was a revolutionary resource for feminism, one of its greatest hopes. Gamble and Blackwell revisit Darwin's data with the aim of locating, amidst his ostensive conclusions to the (...) contrary, his implicit "defense" of either the equality (Blackwell) or the superiority (Gamble) of women. This article identifies the reasons for, and limitations of, this enthusiasm. To some extent, the basis of this feminism is provided by its keen perception of disparities between what a text does, and what it says it is doing. But these feminists did not think through the implications for their own rhetoric about race hierarchy. Darwin's trope of the "savage" would return in the work of some of these feminists, occasionally displaced or rejected, but usually reiterated, and sometimes integral to the feminism in question. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:(P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. by Stephanie Peebles TaveraEtta M. MaddenStephanie Peebles Tavera. (P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. Edinburgh: Edinburgh University Press, 2022. Hardback, xii + 220 pp. ISBN 978-1-4744-9319-2.Utopian Studies readers first saw Stephanie Peebles Tavera’s work in print in her 2018 essay on reproductive health in Charlotte Perkins Gilman’s Herland. More recently, (...) in (P)rescription Narratives, she gives readers a view of the much broader historical scope of her scholarship in literary and cultural studies. Tavera’s analysis of what she labels “feminist medical fiction” considers not only novels and short stories but also literary reviews, dramas, and documentary films, many of which will be unfamiliar to readers of utopian and dystopian literature. Yet the book contextualizes the ways in which these works capture the “utopian possibilities” of women writers who pushed for breaking the boundaries of the dystopian strictures of embodied life. The literary works “rescript” what had been prescribed by others as “normalized behavior,” from the latter-nineteenth century through the Progressive Era (5, 37). As Tavera illustrates through her detailed analysis, these women’s narratives provide “interventions that... interrupt the dissemination of false [End Page 612] narratives of the female body” and “alter the course of cultural development toward greater inclusivity” (5).To establish the temporal boundaries for the project, Tavera emphasizes the Comstock Law, established in 1873, and the death of its author Anthony Comstock in 1915. While Comstock’s work often has been understood as restricting pornography, she explains the Comstock Law as more than merely that. Comstock sought to control what he and others saw as sexual deviation, which included birth control in any form. Tavera also bookends the project with lawsuits associated with Victoria Woodhull and Margaret Sanger, both women who advocated for abortion and birth control as means of allowing women to avoid the strictures over their bodies. Additionally, she explains, Comstock’s racism caused him to completely overlook Black women, ironically allowing a space in which Black women’s feminist medical fiction especially rescripts “normalized behavior” (37)—a topic she pursues in two parts of the book.The book follows a roughly chronological path as it examines four topics related to women’s health, brilliantly organized into “(p)rescriptions,” indicated by Rx, rather than chapters with numbers. Rx1, “Crip Medicine,” illustrates how authors such as Charlotte Perkins Gilman pointed to the socially constructed status of “hysteria” in a patriarchal culture that saw women as deviant by nature. Instead, these authors advocated for a more holistic examination of women’s health, impacted by the environments in which they lived. Drawing from Lyman Tower Sargent’s widely accepted view of utopianism as dreaming of a place “considerably better than the society in which the author lived,” she underscores “the utopian impulse underlies much of the work of feminist medical fiction” (39). In particular, writers of feminist medical fiction were “driven by failure.”Perhaps most familiar to illustrate this point is Gilman’s work, such as “The Yellow Wallpaper,” which illustrated how the culture failed certain characters. The narrator of that story suffers postpartum depression and is made worse by Dr. S. Weir Mitchell’s rest cure. Consequently, Gilman proceeded to write other works, such as Moving the Mountain (1911) and then Herland (1915), which push readers to envision “alternative societies” without such destructive patriarchal medical practices (39). But Tavera also explains how Louisa May Alcott’s Eight Cousins, or the Aunt-Hill (1875) critiques contemporary culture by providing a “domestic utopia” in the female domain of Aunt-Hill, wherein the male Dr. Alec Campbell demonstrates “a better way... of caring for the female body” (55). And another key example is Rebecca Harding [End Page 613] Davis’s Kitty’s Choice: A Story of Berrytown (1875). Berrytown is described as “the Utopia in actual laths, orchards, and bushel-measures of the advance guard of the reform party in the United States” (qtd. in Tavera 55). Through its two physicians, Dr. Muller and Dr. McCall, who represent homeopathic and allopathic practitioners, readers see that the society... (shrink)

In this article I pursue both a systematic and a historical interest. I develop the sentiment of unease as a feminist-pragmatist concept systematically. The main references are the terms habit and situation in John Dewey and the work of Charlotte Perkins Gilman. Perkins Gilman reflects experiences of unease as a writer and as a (social) theorist. The paper is therefore also a historical appreciation of the theoretical work of Charlotte Perkins Gilman. With Perkins Gilman, (...) uneasiness appears to be an expression of an androcentric world, more generally speaking, of a world in which gender relations are understood according to the pattern of normality and deviation. This can be generalized and unease can be understood as an expression of power asymmetries that damage the epistemic authority of some. Such a view is critical of a widespread tendency to individualize negative feelings and attribute them to individuals, who are then classified either as in need of individual coaching or as pathological, and who can therefore theoretically be passed over. (shrink)

A partir del análisis de dos publicaciones de Jane Addams sobre el empleo doméstico (como una “industria atrasada” que requiere “ajuste”), en este artículo abordamos la producción teórica de científicas sociales de finales del XIX y principios del XX sobre las relaciones laborales desde una perspectiva de género y, en particular, sobre el “problema de las sirvientas.” A través de ello, exponemos la particular filosofía y epistemología de Addams y su defensa de una “ética social” por encima del “imperativo familiar.” (...) Las tesis de Addams son comparadas con las de otras teóricas sociales de la época que introdujeron “lo político, lo económico y lo social” en el hogar: las contribuciones de Jessie Taft desde el interaccionismo simbólico sobre la necesaria conciencia social de las mujeres como motor de cambio ante el conflicto subjetivo entre aspiraciones y oportunidades; los análisis sexo-económicos de Charlotte Perkins Gilman o las condiciones de la “democracia en el hogar” de Lucy Salmon. Terminamos con el cuerpo de conocimiento generado a finales del XIX sobre la “cuestión del servicio doméstico,” particularmente a partir del texto clásico de referencia, Domestic service de Salmon (1897), e investigaciones posteriores sobre las empleadas domésticas negras. Concluimos, con ello, con las limitaciones del “punto de vista feminista” cuando no estaba atravesado por la conciencia de clase y de opresión racial. (shrink)

The article engages with the video installation Madame B by Mieke Bal and Michelle Williams Gamaker. The work was premiered in the city of Łódź in Poland. The author makes use of the exhibition brochure by two artists published by the Museum of Modern Art, and the recording of a seminar held by Bal and Williams Gamaker after launching their work. The article focuses on the innovative audiovisual interpretation of Flaubert’s famous novel. Basing the argument on the concept of framing (...) created by Bal, the author applies it to Bal and Williams Gamaker’s exhibition by relating it to the history and culture of the Polish location where it was first shown. Above all, however, the article discusses the importance of quotation and indistinction in Madame B, where the artists quote from : Louise Bourgeois, Maya Deren, Artemisia Gentileschi, Charlotte Perkins Gilman, William Kentridge and Sol LeWitt. (shrink)

Feminist theory is a central strand of cultural studies. This book explores the history of feminist cultural studies from the early work of Mary Wollstonecraft, Charlotte Perkins Gilman, Virginia Woolf, Simone de Beauvoir, through the 1970s Women's Liberation Movement. It also provides a comprehensive introduction to the contemporary key approaches, theories and debates of feminist theory within cultural studies, offering a major re-mapping of the field. It will be an essential text for students taking courses within both cultural (...) studies and women's studies departments. (shrink)

Much has been done to establish a body of scholarly work on women pragmatists since Mary Jo Deegan and Charlene Haddock Seigfried first stressed the importance of the contribution of Jane Addams, Florence Kelley, Anna Julia Cooper, Charlotte Perkins Gilman and others to the foundations of the pragmatist tradition of thought. Nevertheless, it took decades to fully correct the gender and race bias of the genealogies: that is, to overcome the temptation of reducing pragmatism to the writings of (...) a few white male professional philosophers living in the areas of Boston or Chicago a century ago. The reconstruction of pragmatism might also require a rethinking of the philosophical canon itself, the ways in... (shrink)

Gothic literature—a genre brimming with madness, supernaturalism, and psychological terror—offers innumerable case studies potentially representing how psychiatric patients perceive their treatment from healthcare professionals. Charlotte Perkins Gilman’s famous 1892 short story “The Yellow Wallpaper” offers a poignant example of this through its fictional narrator, a diarist many interpret to be suffering from postpartum depression. The fiction here does not stray far from reality: Gilman orchestrated her diarist’s experience to mirror her own, as both real author and fictional character (...) suffocated from a melancholy only made worse by their physicians’ insistence on following the “Rest Cure.” While this instruction to cease all work and activity was a prevalent depression treatment at the time, Gilman, through “The Yellow Wallpaper,” reveals how the intervention ultimately harmed more than helped because it overlooked her—and, by extension, her fictional diarist’s— unique needs and identities. Today, while the ineffective Rest Cure no longer exists, applying observations from “The Yellow Wallpaper” to clinical research calls attention to underrepresentation in treatment development, a costly problem that could be mitigated by mindful incorporation of intersectionality theory into study designs. (shrink)

Gothic literature—a genre brimming with madness, supernaturalism, and psychological terror—offers innumerable case studies potentially representing how psychiatric patients perceive their treatment from healthcare professionals. Charlotte Perkins Gilman’s famous 1892 short story “The Yellow Wallpaper” offers a poignant example of this through its fictional narrator, a diarist many interpret to be suffering from postpartum depression. The fiction here does not stray far from reality: Gilman orchestrated her diarist’s experience to mirror her own, as both real author and fictional character (...) suffocated from a melancholy only made worse by their physicians’ insistence on following the “Rest Cure.” While this instruction to cease all work and activity was a prevalent depression treatment at the time, Gilman, through “The Yellow Wallpaper,” reveals how the intervention ultimately harmed more than helped because it overlooked her—and, by extension, her fictional diarist’s— unique needs and identities. Today, while the ineffective Rest Cure no longer exists, applying observations from “The Yellow Wallpaper” to clinical research calls attention to underrepresentation in treatment development, a costly problem that could be mitigated by mindful incorporation of intersectionality theory into study designs. (shrink)

O renascimento do pragmatismo foi acompanhado por uma série de filósofas feministas que se esforçaram para resgatar do esquecimento as pensadoras que fizeram parte do movimento pragmatista clássico do final do século XIX e primeira metade do século XX. O presente trabalho visa introduzir aos leitores de língua portuguesa esse trabalho a partir de uma breve exposição das pensadoras Jane Addams, Mary Parker Follet, Charlotte Perkins Gilman, Mary Whiton Calkins e Ella Flagg Young.

How does emancipation from social oppression work and unfold? The paper is an attempt to deal with this question from an aesthetic point of view. By drawing on pragmatist resources, and more precisely on John Dewey’s aesthetic theory and on Charlotte Perkins Gilman’s short story ‘The Yellow Wallpaper’, I discuss the critical and transformative potential of a special kind of aesthetic experience, namely ‘aecsthetic experience’. The paper unfolds in three steps: First, I introduce Iris Marion Young’s account of (...) social oppression, which fits particularly well with the framework of the ‘The Yellow Wallpaper’ (1). I show then, in contrast to an established interpretation, how the protagonist of Gilman’s story makes an experience of liberation from oppression (2). Finally, I reconstruct Dewey’s role in my interpretation of this feminist classic, and I suggest what a Deweyan account might learn from it (3). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hypatia’s Daughters: Fifteen Hundred Years of Women Philosophers ed. by Linda Lopez McAllisterSue M. WeinbergLinda Lopez McAllister, editor. Hypatia’s Daughters: Fifteen Hundred Years of Women Philosophers. Bloomington and Indianapolis: Indiana University Press, 1996. Pp. xiv + 345. Cloth, $49.95. Paper, $22.50.Hypatia: born in the fourth century A.D.: philosopher, mathematician, astronomer, teacher; brutally murdered in Alexandria in 415 A.D—whether for holding religious views regarded as heretical or because she (...) was a woman who dared to be a scholar and teacher remains a matter of speculation. Today, she gives her name to the journal for feminist philosophy. She is a symbol for those women who, over the centuries, have struggled to be part of the philosophical life of their time.Until very recently, the centuries that separated Hypatia from the present were assumed to have been a philosophical desert for women. But times have changed. Hypatia’s Daughters is a sign of this change. It contains eighteen articles on seventeen philosophers: Hypatia; Hildegard of Bingen, Heloise, and Christine de Pisan from the Middle Ages; Elizabeth of Bohemia, Sor Juana de la Cruz, Anne Conway, Damaris Masham, Catharine Trotter, Belle van Zuylen and Mary Wollstonecraft from the seventeenth and eighteenth centuries; Anne Doyle Wheeler and Harriet Taylor Mill from the nineteenth; Charlotte Perkins Oilman, Edith Stein, Hannah Arendt, and Angela Davis from the late nineteenth century into contemporary times. Few are known as well as they deserve, but many names are familiar even to non-specialists. Their ideas, however, are another matter.The collection in no way constitutes a definitive selection of women philosophers; those discussed are not presented as the most significant women philosophers in the history of philosophy. (A different kind of study would be necessary for evaluations of that kind.) The women here studied have little in common as a group; they wrote on many topics of philosophical concern; their views and their supporting reasoning differ. Further, as the subjects of the articles differ in their ideas, so do the contributors’ approaches and their methods of studying those ideas differ. These differences are the strengths of a collection that is stimulating, enlightening, provocative. The following examples indicate their range.Andrea Nye examines the correspondence of Heloise and Abelard and, in a second article, of Elizabeth of Bohemia and Descartes. Heloise and Elizabeth are usually regarded as passive followers or, at best, no more than serious questioners seeking answers of their correspondents. Nye’s fresh look at the Heloise-Abelard correspondence finds not only important differences between two ways of thinking, but also sees already underlying their disagreement what she calls the “macroquestion” of philosophy’s future: philosophy as “a professional discipline independent of political or social concerns or... an ongoing critical and cultural discourse.” (25) Elizabeth’s persistent questions to Descartes reveal ideas that challenge his views, especially on moral issues and physiological-psychological [End Page 164] phenomena; these are views that have a greater complexity than the basic issue of mind-body interaction that is usually identified as central to their exchange.Writing on Harriet Taylor Mill, Jo Ellen Jacobs examines changing attitudes towards her subject, beginning with views of Taylor Mill’s contemporaries and moving through the decades into our time. She finds parallels between criticisms of Taylor Mill and attitudes towards the so-called intellectual woman. In times encouraging of women, Taylor Mill is regarded as having made important contributions to the development of J. S. Mill’s thinking, in addition to writing and speaking about her own ideas and positions that did not always follow those of J. S. Mill. In less encouraging times, her significance tends to be minimized.Hannah Arendt is not usually thought of as a feminist. Joanne Cutting-Gray, through her discussion of Arendt’s early book on Rahel Varnhagen, develops implications of that study for Arendt as a “feminist thinker,” in particular through her focus on “the politics of alterity.” Cutting-Gray finds in the Varnhagen biography “an analogy between Jewish and female alterity [that] can stretch our understanding of women and politics.” (281)And there is more, much more: Martha Brandt Bolton’s scholarly examination of the philosophical works... (shrink)

This paper provides an overview of the various dual-use concepts applied in national and international non-proliferation and anti-terrorism legislation, such as the Biological and Toxin Weapons Convention, the Chemical Weapons Convention and United Nations Security Council Resolution 1540, and national export control legislation and in relevant codes of conduct. While there is a vast literature covering dual-use concepts in particular with regard to life sciences, this is the first paper that incorporates into such discussion the United Nations Security Council Resolution (...) 1540. In addition, recent developments such as the extension of dual-use export control legislation in the area of human rights protection are also identified and reviewed. The discussion of dual-use concepts is hereby undertaken in the context of human- and/or national-security-based approaches to security. This paper discusses four main concepts of dual use as applied today in international and national law: civilian versus military, peaceful versus non-peaceful, legitimate versus illegitimate and benevolent versus malevolent. In addition, the usage of the term to describe positive technology spin-offs between civilian and military applications is also briefly addressed. Attention is also given to the roles civil society and research ethics may play in the governance of dual-use sciences and technologies. (shrink)

Critically significant parental effects in behavioral genetics may be partly understood as a consequence of maternal brain structure and function of caregiving systems recently studied in humans as well as rodents. Key parental brain areas regulate emotions, motivation/reward, and decision making, as well as more complex social-cognitive circuits. Additional key environmental factors must include socioeconomic status and paternal brain physiology. These have implications for developmental and evolutionary biology as well as public policy.

In this philosophical exploration of creativity, Irving Singer describes the many different types of creativity and their varied manifestations within and across all the arts and sciences. Singer's approach is pluralistic rather than abstract or dogmatic. His reflections amplify recent discoveries in cognitive science and neurobiology by aligning them with the aesthetic, affective, and phenomenological framework of experience and behavior that characterizes the human quest for meaning. Creativity has long fascinated Singer, and in Modes of Creativity he carries forward investigations (...) begun in earlier works. Marshaling a wealth of examples and anecdotes ranging from antiquity to the present, about persons as diverse as Albert Einstein and Sherlock Holmes, Singer describes the interactions of the creative and the imaginative, the inventive, the novel, and the original. He maintains that our preoccupation with creativity devolves from biological, psychological, and social bases of our material being; that creativity is not limited to any single aspect of human existence but rather inheres not only in art and the aesthetic but also in science, technology, moral practice, as well as ordinary daily experience. (shrink)

If the problem of evil is one of justifying how a perfect God could create evil, then there is no problem of evil in early Chinese thought, but my claim in this paper is that the problem of evil is one manifestation of a deeper problem, which is the conflict between the world and human values and desires. This deeper problem appears in early Chinese thought in ways analogous to the problem of evil in theistic traditions. Daoists respond to this (...) problem with a call to harmonize with heaven by overcoming conventional values and desires. Mencius, a Confucian, offers a more complex response, in which it is natural to cultivate virtue and certain desires even though nature itself is indifferent to them. My paper focuses on this Confucian response. (shrink)

The Critical Graduate Experience is a collection of scholarly reflections on the possibilities of a new vision for critical studies. It is a remarkable book that provides daring analyses from the vantage of the graduate student experience. Drawing from individual knowledge and research, the authors invite you to re-imagine education for justice. Barry Kanpol opens the work with a brilliant meditation on joy and cynicism in university classrooms and educational theory. The book continues to unfold as an open and honest (...) conversation with doctoral students and recent graduates concerning the ethics of higher education. In a true critical approach, each chapter problematizes a new facet of academic assumptions and practices as they touch the lives of students. The authors explore the ethical implications of acknowledging student spirituality and expanding the role of critical education studies. The book concludes with a transparent self-critique on the process and ethics of graduate students writing for publication. This is a wonderful text, guiding students and professors as they enter into dialogue on the ethics of an authentic critical education studies. Classes on practical ethics, educational spirituality, student voice, collaborative publishing, and critical pedagogy could benefit from the insights offered here. Daring to believe that student experience and knowledge have a place in the world of academic publishing, this book is both a prophetic proclamation of and humble invitation to a new future in the field. (shrink)

continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that the (...) blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)