Hypatia 21 (3):166 - 189 (2006)

Authors
Peg Brand Weiser
Indiana University Purdue University, Indianapolis
Abstract
Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art
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DOI 10.1111/j.1527-2001.2006.tb01119.x
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References found in this work BETA

The Artworld.Arthur Danto - 1964 - Journal of Philosophy 61 (19):571-584.
The Philosophy of Laughter and Humor.John Morreall (ed.) - 1986 - State University of New York Press.

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Citations of this work BETA

The Role of Luck in Originality and Creativity.Peg Zeglin Brand Weiser - 2015 - Journal of Aesthetics and Art Criticism 73 (1):31-55.
Parody.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics, 2nd Ed. Oxford University Press. pp. 69-72.

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