The remarkable growth in interest in aesthetic gardens in the late Ming period has been recognized in Chinese garden culture studies. The materialist historical approach contributes to revealing the importance of gardens’ economic functions in the shift of garden culture, but is inadequate in explaining the successive burgeoning of small plain gardens in the 17th century. This article integrates the aesthetic and materialist perspectives and situates the cultural transition in the concrete social and cultural context in the late Ming period. (...) Beginning with describing a taste change and an expansion in the number of gardens, this article focuses on the small plain garden phenomenon by exploring the unique role that the arts (e.g., poetry and painting) played. A series of artistic criteria were established in the late Ming period. The application of these aesthetic rules to gardens enabled more people to own gardens. This is process that economic requirements for owning gardens were lowered, giving way to the aesthetic appreciation and exploration of literati individuals’ artistic talents. Gardens thus became more widely accessible and provided enhanced pleasure to the middle and lower class families. The conclusion is that the ‘major shift’ in garden culture was closely associated with the change of garden owners’ aesthetic tastes, in addition to the economic conditions in the Jiangnan area. In the increased popularity of gardens, the arts played a significant role. (shrink)

The relationship between ethics and design is most usually thought of in terms of applied ethics. There are, however, difficulties with this: for instance, conventional ethical stances such as deontology or consequentialism depend on procedures that are inapplicable in the sorts of complex situations which designers commonly face. In any case, it is not as if ethics is a settled body of theory that can act as an authority with which to guide practice. Depending on which theories we refer to, (...) we receive different, and often directly conflicting, guidance. Paralleling the idea that design has its own epistemological foundations, rather than needing to import ideas from science, I propose an alternative way to think of the relation between design and ethics, looking to the ethical questioning implicit in what designers do, and the similarities between those situations which they encounter as a matter of course and those questions with which normative ethics is both most concerned and confused. I suggest that we might reason about ethical questions in design in design’s own terms and, also, that rather than apply ethical theory to design we explore what design can contribute to ethics, inverting the more usual hierarchy. (shrink)

This dissertation develops and defends a conception of sexualized violence that is rooted in philosophical theories of violence, and at the same time helps us understand the way that violence is connected to various kinds of oppression, namely, the oppression of women. It argues that sexualized violence, which is typically theorized through related notions of physical violation and psychological trauma, is best understood in terms of its moral quality. Sexualized violence against women is fundamentally a moral problem insofar as it (...) disrupts victims' ability to grow and develop in relationships with others, to conceive and meet responsibilities to and emerging from those relationships, and well as the ability to challenge unjust social norms, practices and institutions that in part constitute who we are. This moral quality of violence is investigated through an engagement with the concept of moral integrity, arguing that integrity is grounded in authenticity, understood through the existential-phenomenological tradition. Integrity-as-authenticity paves the way for understanding sexualized violence as a form of moral disintegration, where the dynamism and flexibility required of authentic selfhood is frustrated. Understanding violence and victimization in this way, I argue for a robust notion of advocacy as part of our response to victims. Advocacy--giving voice--will require the development of new concepts and language adequate to the experiences of victims, it will also require the cultivation of spaces and relationships where victims can speak, and it may require that we lend our voices to and for victims. (shrink)