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

In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...) there are counterexamples to the entire conditional. With regard to (ii), I will suggest that conventionality is necessary for creativity. [This was my first published paper, written as a graduate student, taken from my University of Illinois at Chicago dissertation written with Professor George Dickie on the topic of conventions, utilitizing David Lewis' definition of "convention."]. (shrink)

There has been an important artist in our midst. Her work is about gender, race, and the internal structures of the artworld, and it predated the current popularity of those topics in theoretical circles by three decades.... Piper's volumes serve two functions. Volume I, Selected writings in Meta-Art, 1968-1992, provides an intimate history of the development of her own creative art making, while Volume 2, Selected writings in Art Criticism, 1967-1992, chronicles her more public responses to art-critical writings. Together they (...) form an intense document of a practicing, successful artist who is exceptionally articulate and hence interesting to read. 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)

The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. Three essays follow this introduction authored by Marica Muelder Eaton, Paul C. Taylor, and Susan Bordo. They represent a conjoined effort to move 'beauty' beyond the traditional parameters of past contextual theories of art. This introductory essay offers some guidance as (...) to why a symposium on beauty merits attention in 1999. (shrink)

In our paper "Surface and Deep Interpretation," we sought to provide detail and texture to Arthur Danto's views on interpretation, thereby explicating and defending them (as published in Mark Rollins, ed., Danto and His Critics (Blackwell, originally published 1993; second edition 2012). Leddy objects to our views; in the end, Danto's view, given our explication of it, remains tenable.

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

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)

The "Introduction" to "Symposium: Beauty Matters" in the Journal of Aesthetics and Art Criticism, Vol. 57, No. 1 (Winter 1999), pages 1-10, is presented here. Abstract: The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. The three essays that follow, authored by Marcia Muelder Eaton, Paul C. Taylor, and Susan (...) Bordo, represent a conjoined effort to move "beauty" beyond the traditional parameters of past contextual theories of art--theories which in their own right (only decades ago and analogous to art criticism itself) opened up rich philosophical terrain beyond the confines of formalism. This introductory essay offer some guidance as to why a symposium on beauty merits attention. Exploring the ways artists and critics have revived the concept of beauty will provide a point of comparison between artworld practices and recent philosophical literature. Most importantly, a new approach to philosophical theorizing will be recommended: one that places questions of gender, race, and sexuality at the forefront of analyzing our experiences of beauty in nature, the human body, and art. Curiously, this new approach is not so much a radical departure from traditional philosophical aesthetics as it is a return to questions basic to the field since the time of Plato: questions about the types of qualities that inhere in objects of beauty, the kinds of experiences they provoke, and the ways we come to value both. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

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.”. (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)

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and (...) on the body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (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)

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)

Most artists who are familiar with the contemporary art scene—especially the New York City scene—know that “beauty” is not especially hip. Unless, that is, it serves a “deeper” purpose, e.g., it helps to make a conceptual or political point. Danto’s influence, it would seem, pervades and persists (31). But, as Brand points out in her introduction, in the past twenty years or so, the philosophical study of beauty has been making a comeback; she lists over fifty titles that have (...) been written on the subject since the nineties. Brand’s book, Beauty Unlimited, promises to add to the feminist oeuvre on the subject. The book is comprised of twenty essays, with a foreword by Carolyn Korsmeyer and an introduction by Brand. Although the majority of the essays are interdisciplinary, they are primarily written by trained philosophers. Other essays are written by practicing artists and writers, historians, and cultural anthropologists. (shrink)

La notion de mythe, dont la fortune a été brillante en sociologie, en anthropologie et en psychanalyse, ne peut laisser le juriste indifférent. Assurément, l'idée de rapprocher ces deux domaines peut paraître singulière, tant ils paraissent éloignés. Cependant, cette apparente altérité mérite d'être revisitée. Le retour au mythe, à travers une grille de lecture juridique, autorise une mise en perspective de la rationalité juridique contemporaine. Chaque mythe antique est en rapport avec la fondation du droit. Mais, le droit positif a (...) lui-même une dimension mythologique importante. En raison de sa fonction normative, il est pétri d'imaginaire et de fictions. Or, à une époque comme la nôtre, où les mythes et autres métarécits sont déconsidérés, assimilés à une pensée préscientifique, il faut peut-être reconnaître que ce sont ces métarécits qui donnent du sens et qui peuvent renforcer la légitimité du droit dans sa dimension instituante. Le droit ne peut conserver sa fonction anthropologique sans renouer avec ce qui le sous-tend, à savoir le mythe. (shrink)

Jacques Derrida is one of the most prolific and influential contemporary French intellectuals. Twenty-two essays and excerpts from Derrida's writings over the last twenty-five years are gathered in this accessible introduction, _A Derrida Reader_. The book's five sections are carefully introduced by the editor, and each selection of Derrida's work is presented succinctly in context. A general introduction to the volume by Peggy Kamuf provides an original interpretation and overview of Derrida's work and philosophy.

Die Idee zu der in diesem Band dokumentierten Tagung ist im Rahmen des disziplinübergreifenden Nachwuchswissenschaftsnetzwerkes THESIS entstanden. Der Dialog über die fachlichen und disziplinären Grenzen hinweg hat bei THESIS seit dessen Gründung im Jahre 1990 stets einen großen Raum eingenommen. Anderen Fächern Respekt und Interesse entgegenzubringen und sich nicht von stereotypen Vorurteilen leiten zu lassen, ist konstitutiver Bestandteil im Selbstverständnis des Netzwerkes. Selbstverständlich gibt es in einem solchen Verbund eine Reihe von Gelegenheiten (darunter auch den einen oder anderen entwicklungsfördernden Konflikt), (...) das eigene Bild vom Anderen und das andere Bild vom Eigenen zur Sprache zu bringen und zu hinterfragen. Auf der Basis dieser bestehenden Kommunikationsstrukturen trafen sich am 11. Oktober 2003 in Göttingen 12 junge Wissenschaftlerinnen und Wissenschaftler zwischen, über und auch auf den Grenzen ihrer eigenen Herkunftsdisziplinen, um den Trendbegriff [alpha]Transdisziplinarität" auf seine Substanz zu prüfen. (shrink)

Sigmund Freud sah die Anziehungskraft christlich-religiöser „Illusionen“ in der möglichen Aussöhnung des Menschen mit dem Tod begründet. Heute hat die moderne Industriegesellschaft die Religion jedoch weitestgehend hinter sich gelassen, die Vorstellungen von Tod und Sterben haben sich gewandelt. Marina Brandes untersucht, wie, in welchem Alter, an welchen Orten und unter welchen Umständen heute im Vergleich zu vormodernen Epochen normalerweise gestorben wird. Sie zeigt, welche Assoziationen mit dem Tod verknüpft sind und entwickelt vor dem Hintergrund der Medizinalisierung, der Institutionalisierung des Sterbens (...) und der Ausgrenzung der Sterbenden, Perspektiven für ein versöhntes, gutes Sterben. (shrink)

A new edition of this bestseller, the only book to cover this range of ethical issues with attention both to the roundedness and individual integrity of each religious tradition and to focused issues which are of contemporary interest. The format of the book has not changed. It provides for parallel study of the values held by different communities, exploring the ethical foundations of Hinduism, Buddhism, Sikhism, Judaism, Christianity, and Islam. Each section introduces a different religion and sets the wider context (...) within which more specific questions can be asked. Individual topics can be accessed and understood not only within a tradition as a whole but also across traditions through careful indexing. The following topics are then addressed as appropriate to the given traditions: Religious Identity and Authority Personal and Private? Marriage and Family Influence on and Use of Time and Money Quality and Value of Life Questions of Right and Wrong Equality and Difference National Divisions, War and Peace Global Issues Key features * Each section is written by a specialist in that religious tradition, who in some cases is also an 'insider' and in the other cases has worked closely and in a respected and respectful way with members of that tradition. * Individual topics can be accessed and understood not only within a tradition as a whole but also across traditions through careful indexing * Additions to the text include subsections on reproduction, vegetarianism, just war and terrorism; and new material on weapons of mass destruction and pre-emptive strikes and genetic modification. (shrink)

Résumé La fondation anthropologique de la fonction critique – socialement endossée par l’imaginaire utopique – et son lien dynamique avec la tâche intégrative de l’idéologie permettent à Ricœur de repenser sur le plan socio-politique la double nécessité du soupçon et de l’espérance. En reliant l’analyse de la structure contradictoire et analogisante de l’imaginaire social aux perspectives antérieurement développées sur “la liberté selon l’espérance,” notre propos vise à expliciter ses enjeux émancipateurs. Les apories auxquelles les médiations symboliques contraignent l’agir doivent nourrir (...) la double nécessité d’un “devoir de vigilance” et d’une “timide espérance”: telle est à la fois la difficulté irréductible et la force critique de l’analyse ricœurienne de l’imagination socialisante. Mots-clés: imaginaire social, critique, idéologie, utopie, espérance.The anthropological foundation of the critical function—endorsed by the utopian imaginary—and its dynamic relation with the integrative task of ideology allow Ricœur to rethink, at a social and political level, the necessity of both suspicion and hope. Linking Ricœur’s analysis of the contradictory and analogizing structure of the social imaginary to perspectives on “freedom in the light of hope,” which were developed earlier, it is my intention to make explicit certain emancipatory issues. The aporiae to which symbolic mediations constrict acting must provide for the necessity of both an “obligation for vigilance” and a “tentative hope.” Such is the irreducible difficulty but also the critical force of Ricœur’s analysis of the socializing imagination. Keywords: Social Imaginary, Criticism, Ideology, Utopia, Hope. (shrink)

Proto‐oncogene products may be multi‐functional proteins with various roles in cell differentiation as well as cell proliferation. The molecular biology of the gene products of three well characterized proto‐oncogenes (c‐fos, c‐myc and c‐src) are described, and the roles of three other proto‐oncogene products, involved in hormone and growth factor reception, are reviewed.