Jane Duran's Worlds of Knowing begins to fill an enormous gap in the literature of feminist epistemology: a wide-ranging, cross-cultural primer on worldviews and epistemologies of various cultures and their appropriations by indigenous feminist movements in those cultures. It is the much needed epistemological counterpart to work on cross-cultural feminist social and political philosophy. This project is absolutely breath-taking in scope, yet a manageable read for anyone with some background in feminist theory, history, or anthropology. Duran draws (...) many comparisons and connections to Western philosophical and feminist ideas, yet avoids facile or imperialistic over-universalization. Her book is powerful, comprehensive, and brave. It will prove an enormously useful resource for scholars in women's studies, philosophy, anthropology, religious studies, and history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 32-39 [Access article in PDF] Aesthetics, Epistemics, and Feminist Theory Jane Duran Recent feminist analysts of aesthetics and analytic aesthetics in particular seem to have come to the conclusion that the redemption of formulated aesthetic theory from the feminist point of view is a difficult and recondite task. 1 If analytic aesthetics now looks problematic, qua fruitful philosophical enterprise, its (...) future appears bleaker still when the intersection of the androcentric nature of analytic philosophy and the larger feminist project, frequently articulated in other than analytic terms, is examined.In this essay I will assume that there is some future for analytic aesthetics, and I will not dispute the basic assumption that any portion of analytic theory is somewhat immiscible with feminist points of view. My concern, rather, will be to try to show what it is specifically in the nature of analytic theory, both aesthetic and otherwise, which renders it of dubious value to the feminist critique (at least on first blush). Although in the past feminist theorists have tried to characterize the androcentric nature of analytic philosophy on the whole in rather striking terms,it is not clear that these terms have been precise enough. 2 Further, it is not clear that analytic modes are obviously unusable for feminist theory or for the development of a still nascent feminist aesthetics, although what one wants to say here is that this task is a terribly danger-fraught one. 3My goal here is twofold: first, to articulate what precisely it is aboutanalytic aesthetics (or any portion of analytic theory, for that matter) thatmakes it a hindrance — at least preliminarily — to the development of feminist views. In order to do this I will need to examine a relatively uncharted area in the literature, that is the parallel between much of analytic aesthetic theory and analytic epistemology. The second portion of my task will runsomewhat contrary to conventional wisdom: having delineated the mostmasculinist parts of analytic endeavors, I inquire if there is, indeed, anypart of rigorously articulated analytic theory that could lend itself to the development of a feminist aesthetic. [End Page 32] Analytic Philosophy and Aesthetics Analytic aesthetics, like analytic philosophy taken as a whole, has often proceeded as if the development of conceptual clarification and theoretical rigor could do much to "solve" or dissolve aesthetic problems. George Dickie's introductory work, for example, presents the student with a number of difficult areas in aesthetics, and then proceeds to address these areas in much the same manner that other contemporary texts employ for the discussion of issues in ethics, epistemology, or metaphysics.In discussing symbolism, Dickie first attempts to clarify the use of theterm, and then notes that there are problematic areas with regard to whether or not a work of art can both contain a symbol and serve itself as a symbol simultaneously. A symbol "stands for" in some establishable way that which it symbolizes. A symbol serves to transfer someone's thought to something other than itself, and the transfer is not a random association. The transfer depends upon certain features of the symbol which give it a place in a certain meaning system. 4I cite this material as exemplary because the flavor of analytic aesthetics is remarkably similar to the flavor of analytic philosophy as a whole. We sometimes need to remind ourselves that the techniques of analysis developed in the earlier part of this century relied on breakthroughs in logic and formal representation which allowed for a certain precision in matching symbol to thing signified. The original hope of philosophers working at the time of Bertrand Russell and G.E. Moore had been to develop something close to a logically perfect language with a one-to-one relationship between signifier and signified. However without merit this somewhat arcane task, its goals infused much of the philosophizing that followed it, and even the ordinary language school was, of course, indirectly an offshoot of this work. Nicholas Wolterstorff, for example, notes that "analytic philosophy was to be 'scientific philosophy'....The goal of the analytic philosopher... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 88-94 [Access article in PDF] A Postmodern Tonantzín Jane Duran Visitors to the Puebla area in Mexico are frequently taken to the church of Santa María Tonantzínla, where they are told that they will see three or more styles of architecture simultaneously. Guidebooks to the area prominently feature this church and others like it, both as examples — or so (...) the reader is told — of the "Baroque," and as exemplars of the handiwork and craftsmanship of the indigenous.1 Because of the importance of various notions of style insofar as teaching in the arts is concerned, it might seem important to try to articulate what is meant by simultaneity of styles. In addition, today's students are often baffled by uses of the term "postmodern." In this essay I will argue that Santa María Tonantzínla may have somesurprising lessons for us all.There is no question that the visual effect of the building's interior is, in fact, stunning and that the visitor is simultaneously awed and bemused. Arrivals at this church in the Puebla suburb of Cholula see a riotous profusion of cherubs, angels, and other figures covering the walls, ceiling, nave, and almost every square inch of available space. Although some of the figures do indeed appear to bear a resemblance to those found in European structures created during the sixteenth and seventeenth centuries, other figures are more or less unrecognizable to most visitors, and clearly seem to be, as the books indicate, of non-European origin. To add to the effect of the stylistic mixing, the façade of the building is somewhat Romanesque, which only makes the interior more surprising and, in its own way, unexpected.I shall argue that work such as that at Tonantzín presents us with a variety of conceptual difficulties from the standpoint of aesthetics, and opens the door for some novel lines of argument. It is first of all quite unclear where the notion of "style" begins at Tonantzín; the boundaries are blurred and here, perhaps more than in most architectural treasures, one does not know how to announce or delineate the various styles. But much more important, [End Page 88] perhaps, is that this very amalgamation lends itself to the notion that one trope, the "postmodern," continually used in a discussion of contemporary architecture, is perhaps more relevant to Tonantzín than one might at first expect. In this essay I shall weave these two lines of argument together to support the contention that Tonantzín is, after all, postmodern. But before we can move to that assertion, it is important to try to think about what a meshing of such styles as "Spanish baroque" and "indigenous" could possibly mean, and why it has seemed urgent for writing on Tonantzín to employ these labels. Architectural Diversity In an intriguing article on the use of terms such as "modern" and "postmodern" in contemporary architecture, David Goldblatt has argued that Venturi's claim that modernity lacks what he terms diversity is more or less vacuous. As Goldblatt claims, the concept of diversity within a given work does not make much sense. More important for our purposes, Goldblatt goes on to provide a gloss on the notion of electicism, and its relation to a variety of architectural styles. He writes: When Venturi claims that modern architecture lacks diversity, he primarily means that it fails to achieve what he calls a pluralism. What he calls for is "Scarlatti and the Beatles, if diversity is to be achieved"....What Venturi is advocating is eclecticism.2As Goldblatt claims, eclecticism is the hallmark of the postmodern in architecture, and the eclectic pastiche that is Las Vegas — especially in terms of borrowed styles, ornamentation, and visible fripperies within the context of one building — becomes exemplary of that term and what it evokes. But to say simply that there may well be instances of the postmodern in architecture before the twentieth century, and before the decline of modernity itself, is to say very little. As Goldblatt... (shrink)

Overviews -- Hildegard of Bingen -- Anne Conway -- Mary Astell -- Mary Wollstonecraft -- Harriet Taylor Mill -- Edith Stein -- Simone Weil -- Simone de Beauvoir -- Conclusions.

The work of Spinoza, Descartes and Leibniz is cited in an attempt to develop, both expositorily and critically, the philosophy of Anne Viscountess Conway. Broadly, it is contended that Conway's metaphysics, epistemology and account of the passions not only bear intriguing comparison with the work of the other well-known rationalists, but supersede them in some ways, particularly insofar as the notions of substance and ontological hierarchy are concerned. Citing the commentary of Loptson and Carolyn Merchant, and alluding to other commentary (...) on the Cambridge Platonists whose work was done in tandem with Conway's, it is contended that Conway's conception of the "monad" preceded and influenced Leibniz's, and that her monistic vitalism was in many respects a superior metaphysics to the Cartesian system. It is concluded that we owe Conway more attention and celebration than she has thus far received. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Education and Feminist AestheticsGauguin and the ExoticJane Duran (bio)IntroductionMuch has been made of the way in which Gauguin came to characterize the differences that he saw between the French and Tahitian populations once he had embarked on the series of voyages for which he is now celebrated.1 Although there is evidence to support a number of interpretations with respect to his portrayals of women, one theme has been (...) paramount in a great deal of the commentary: Gauguin came to see the women of Tahiti as not only emblematic of the island itself, and the island's culture, but as the embodiments of a certain sort of feminine grace. The contrasts that Gauguin himself invoked between the "naturalness" of the Polynesian women and what he took to be the falsity of women of his own class in Europe, especially France, has been the subject of much writing. In our attempts to educate undergraduates with respect to categories of oppression, we can appeal to the work of Gauguin as a valuable source of understanding concerning these issues.Given the Eurocentrism of the time, and given that it is roughly this same time period that Said will later go on to associate with the rise of Orientalism, it is probably not possible that Tahiti, its women, and its various flora and fauna could have been seen as anything other than vestiges of the natural in a world already too tamed. Words such as "savage" are used frequently in the criticism of the day to explain Gauguin's subjects, and some of the themes of his work seem to have been chosen specifically because they lent themselves to such an interpretation, at least in European eyes.2 But Gauguin goes a bit further than this crude caricature indicates, at least insofar as his portraits of female figures are concerned. It is clear that, for the [End Page 88] artist, they represent all that is to him unknown about Tahiti, and that at the same time they are coded as the natural, the innocent, and even the holy. An examination of some of his works will bear out the extent to which this is the case.IRegarding Gauguin's attitudes toward Tahiti and its women, Britt Salvesen has noted in recent commentary thatGauguin infused his art with mystery, often by depicting enigmatic female figures, traditional symbols of nature and its secrets. In Tahiti he expected to encounter exotic and sensual women. Given Gauguin's complicated position as both observer and participant in Tahitian society, his ambition to represent the "country's female type" bears close examination. He owned illustrated travel books in which, as he noted scornfully, "all the [natives] … look like Minerva or Pallas Athena." He aimed to disrupt this conventional projection of European ideals and fantasies onto Tahitian women.3As Salvesen indicates, Gauguin expected to find, and did find—by his lights—"exotic" and "sensual" women. Feminist analysis has provided us with an overwhelming amount of material about the extent to which such projections onto women as a group become a near universal human cultural trope, but few individuals allow us to make such strong comparisons with respect to projections on differing female figures as Gauguin does. That he is able to discern the ridiculousness of Academy art with its emphasis on "Pallas Athena" is obvious; what he chooses to do himself is something else again.Inaugurating a variety of personal relationships with women and girls as young as thirteen years of age,4 Gauguin developed a view of the Tahitian woman as emblematic simultaneously of the culture, of a certain sort of innocence, and of a virtually transcendental sacredness. That these images might be thought, naively, to have little to do with sensuality reflects the degree to which we fail to understand that for Gauguin, as for others after him, the sensual itself was sacred. Salvesen notes that one of the early relationships was with the "thirteen-year-old Tehamana. … [o]f Polynesian origin, [in]experienced, and of a seemingly 'impenetrable' character, Tehamana offered Gauguin the mysterious experience he sought in life and art."5If Tehamana represents one take on woman-as-elementally... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:AngloModern: Painting and Modernity in Britain and the United StatesJane DuranAngloModern: Painting and Modernity in Britain and the United States, by Janet Wolff. Ithaca: Cornell University Press, 2003, 172 pp.AngloModern, Janet Wolff's scintillating attempt to limn the construction of modernity in the visual arts, is more than worth reading for a number of reasons. In this work, she details how modernity positioned itself against a number of strands (...) of development, and then, by a process of exclusion, formulated its own stance. As poststructuralist theory has taught us, the procedures of building an excluded body against a center, when closely examined, frequently tell us more about a rubric or label than we could otherwise have imagined.Wolff is primarily concerned with three areas of exclusion/construction for the turn in the visual arts, painting in particular, that began at the opening of the twentieth century. Toward the beginning of the work, she notes that there was always a continuous realist and figurative genre at work even in modernist circles, but it seldom achieved anything like the recognition that the more typically abstract works we associate with the rise of modernism gained. She associates this area of nonrecognition with the work of women in particular, and these two areas alone — the realist/figurative and any work done by a woman artist — constitute two of her most important foci in AngloModern. In addition, and with some difficulty, since it adds a layer of complication, she is concerned about the exclusion and marginalization of Jewish artists during thisperiod — both in galleries and in thecommentary generated by the art world — although it is clear that many of the major "abstract" works associated with modernism were, in fact, produced by Jewish artists.Wolff is at her best in laying out in precise detail how it is that the culture of the art world throws up nearly insurmountable barriers against those deemed unworthy at a fairly early point in the construction of any new movement. The single strongest chapter in the work may well be the second, "Questions of Discovery: the Art of Kathleen McEnery," in which Wolff shows how various processes of categorization kept the work of this extremely talented woman from receiving anything like the recognition it deserved for a long period of time. Wolff sums up her overall project, and how it will relate to an artist such as McEnery, in her Introduction, when she writes:The story of modern art that is challenged [in her book] is the narrative tracing the development of Western painting from France to the United States, in a lineage more or less running from Manet and Post-Impressionism, by way of Cubism and Surrealism, to Abstract Expressionism. It is a story produced and reinforced by critics, academics, curators, and museum directors.(p. 3)Women artists, for example, were frequently excluded not only becausethey were women, but because they may have tended to engage in painting that was more realist, which itself [End Page 118] became coded as "feminine," and so forth. McEnery's intriguing portraits of the early two decades of the twentieth century were "discovered," as Wolff notes for the l987 inaugural exhibition of the National Museum of Women in the Arts, despite the fact that McEnery had at one point been fairly well-known (pp. 41-42). A woman at work in a figurative tradition, and working in suburban circles far away from the geographical centers of the art world, she was quickly at the mercy of the canonical forces of art historical construction.As we attempt to educate our students about rubrics, social movements, and the relationship of the arts to the political events of an era, we can do little better than to cite, for illustrative purposes, a number of interesting cases, and Wolff does just that. In sharp and incisive prose, she not only investigates McEnery's disappearance from the approved version of the early American modernist scene, but she also examines the construction of the early group displayed at the Whitney, the notion of the "feminine" in the work of Simmel and Benjamin, and, finally, the notion of the "Jewish artist." As her exemplar for the... (shrink)

Feminist standpoint theory, as a tool for examining women’s lives in less developed nations, is scrutinized from the vantage of NGO-driven work and its changes in women’s routines. Work from Bangladesh and Mexico is cited, and commentary from workers in UN agencies and other non-governmental organizations is used.

In lieu of an abstract, here is a brief excerpt of the content:Virginia Woolf, Time, and the RealJane DuranCritical appraisal of the work of Virginia Woolf has tended to focus on feminist concerns, or on issues revolving around the actual facts of her upbringing and the extent to which she might have been thought to be a victim of abuse. Although some commentators have noted that Woolf's high modernist style lends itself to a number of readings with respect to sense (...) of self, the passage of time, and a sort of phenomenological reflection, philosophical concerns have, in general, not played a large role in Woolf scholarship to date.In this article I shall argue that some of Woolf's best known work—especially To the Lighthouse—exemplifies a concern for time, reality and a sense of interior life-as-lived that is overtly philosophical in its construction, and even somewhat didactic. Furthermore, I will claim, it is part and parcel of modernism as it is ordinarily conceived to address these issues in some fashion, even if, in many cases, they are not addressed as thoroughly as they are in Woolf's work. Even if we can be certain that a great deal of Woolf's mental disturbance, or mental illness, was the result of childhood abuse, or even inherited tendencies, it still does not detract from the power with which she was able to use depictions of inner turmoil to give us a sense of the fleeting and transitory nature of the real. Indeed, such a sense is one of the hallmarks of Woolf's work and is acknowledged by most of her critics, even if it is not termed a philosophical concern. I will analyze constructs of time and the chronological through a view of To the Lighthouse.IA number of philosophers have offered conceptions of time; these efforts range from those of antiquity to the more technical articulations [End Page 300] of the twentieth century. One of the most haunting evocations of the power of time is in the work of one whose thought is seldom cited in this regard, Simone de Beauvoir. In Old Age, she offers a phenomenological account of the passage of time that reflects an emphasis on the internally-felt disparity between the past and the present that is a frequently-remarked upon aspect of old age.1 There is a paucity of experience-of-the-present among the very elderly, and a reliance upon the past. Concomitantly, there is a foreshortening of the future. As Beauvoir writes: "How far does memory allow us to retrieve our lives? The images... are far from possessing the richness of their original object. An image is the seeing of an absent object by means of an organic and affective analogue" (p. 147). Despite the fact that these images may lack the richness of the original, the somewhat paradoxical effect of being older is that these images predominate.In To the Lighthouse, Woolf plays with time in a way that allows for a development of the internally-sensed structure of time on the parts of the various characters. Although many have remarked upon the well-known middle section, "Time Passes," this aspect of the felt sensation of time as an internal phenomenon, and one on which her characters seem to draw at regular intervals, is a somewhat little remarked feature of the rest of the book. It is present from the outset: James's first thoughts about the trip to the lighthouse highlight time in a sort of reversal of the way that Beauvoir has indicated for the elderly; James's conception of the passing of time is altered in another sense, since he is only six. He has projected himself forward so intently to the trip to the lighthouse that everything else has seemed somewhat unreal. As Woolf writes, "he had looked forward, for years and years it seemed...."2Although the differences between the felt constructions of time between, for example, childhood and old age might seem to partake of the commonplace, Beauvoir is among those philosophers who have used the notion of the truncation of time and the foreshortening of the future among the elderly to make philosophical commentary. By the same token... (shrink)

The argument that a holistic analysis of Dewey's work, drawing not only on the major portions subject to extensive commentary (such as Experience and Nature) but also on his aesthetics, provides fuel for feminist theorizing is sustained by advertence to the standard commentary and also to new work in aesthetic feminism itself. Sleeper, Rorty, Hickman and Russell are cited, and the recent resurgence of interest in developing the intersection between analytic aesthetics and feminist aesthetics is alluded to. It is concluded (...) that the enterprising feminist theorist may suffer from an embarrassment of riches in attempting to approach Dewey but that such an approach is well worth the effort. (shrink)

The author argues that the concept of justification is viewed best through elucidation of the processes of ethical and epistemic justification, with specific attention paid to what has been dubbed the "internalist/externalist" distinction in such justification. The first part of the argument clarifies the nature of the distinction as it occurs in ethics and then epistemic justification, noting that there is a parallel between the uses of the distinction, but that it is the way in which the uses are not (...) parallel that is most salient for conceptual purposes. The author then claims that there is an analogous distinction, frequently made in ethical justification, and that is the alleged normative/descriptive distinction. A look at the intersection of that distinction with the internalist/externalist juncture yields the notion that epistemic justification, in particular, could benefit from an externalist/ descriptive approach. Finally, the author argues that we would do well to apply some of the work of the social sciences to epistemic justification theory. The author concludes that the concept of justification includes all four components (internalist, externalist, nor mative, and descriptive) and that clarification of justification simpliciter involves an examination of justification in its various modes. (shrink)

Four lines of argument are adduced to support the contention that current disease-modeled approaches to learning disability (LD) are inadequate and that a more environmentally-centered approach should be utilized. The first argument employs philosophy of science to criticize the blatant operationalism of the extant theorizing, while noting that the theories frequently try to employ a realist slant. The second line of argument attacks the disease model itself, employing the work of other philosophers who have noted the extent to which "disease" (...) is a value-laden construct. Still another line notes that, at first glance, current work on paternalism might seem to provide some kind of rationale for LD placement, but that this is probably not the case. The fourth line of argument adverts to the possibility that sociopolitical motivations underlie some of the labeling efforts. It is concluded that current efforts are fruitless and that a new definitional effort is needed, one which specifically cites the locus of disability as the classroom environment. (shrink)

Several lines of analysis support the contention that Sartre’s theorizing can be used to bolster feminist concerns. Both philosophical and literary works are examined, and Notebooks for an Ethics, The Flies and The Respectful Prostitute are examined at some length. The commentary of Flynn, Bell and Pellauer is employed, and in general the argument relies on the notion that the construction of the for-itself, along with Sartre’s generalized portrayal of the Other, can be used for feminist purposes. Key Words: gender (...) theory • Sartre • transcendence. (shrink)

The continued predominance of SL‐logic and deductive paradigms in the research on conditional‐based reasoning by experimental psychologists is examined and criticized. After recounting the history and influence of the model, I note the emergence of trends in epistemology and other areas of theory that might provide a springboard for the critique of the model, and I argue that a new approach to examining reasoning with conditionals ought to be developed. I conclude that a superior approach would model such reasoning with (...) sociolinguistic, inductive, and neurophysiological parameters, and that it would not involve any comparison of subjects’ reasoning with the standard deductive rules of logic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Women Philosophers of the Seventeenth Century, and: Anne Conway: A Woman PhilosopherJane DuranWomen Philosophers of the Seventeenth Century, by Jacqueline Broad; 204 pp. Cambridge: Cambridge University Press, 2002. $65.00. Anne Conway: A Woman Philosopher, by Sarah Hutton; 280 pp. Cambridge: Cambridge University Press, 2004. $75.00.Recent work on women philosophers has, in general, approached the topic from two vantage points: on the one hand, a number of anthologies have (...) been published, wherein commentators present a small portion of the woman thinker's work, often without the background necessary for a fuller understanding. On the other hand, some few women philosophers have been the subject of full-length works, but these have tended, by and large, to be women thinkers of the twentieth century, with whose work we are already familiar. Two recent books, one by Jacqueline Broad and the other by Sarah Hutton, go a long way toward improving the situation.Work by Eileen O'Neill, Sarah Hutton and Margaret Atherton, among others, has helped familiarize us with the notion that the seventeenth century—that era so commonly associated with Descartes and the rise of modern philosophy—was also a time of rich theorizing by women philosophers. Jacqueline Broad's book possesses many virtues: it has the finely-tuned style of the careful historian, while at the same time not failing to demonstrate acquaintance with a range of contemporary feminist commentary. Part of the problem in addressing women thinkers of the past is another version of what we are now tempted to call the essentialism problem: does it make sense to think that there is a style that might be demarcated as "feminine," or that might, in some way, pertain uniquely to women theorists? These are difficult issues, but a partial response to the question is to try to remember that it is not for no reason that women thinkers have, indeed, been left out of the canon. As Broad herself says, women philosophers "are now mere footnotes to the standard historical-intellectual accounts of the early modern period" (p. 1).Broad does a superb job of navigating between the need to set out the plain tenets of the thinker's philosophy, and the desire to try to tie it into these larger questions. In six chapters, she addresses the work of Elizabeth of Bohemia, [End Page 200] Margaret Cavendish, Anne Conway, Mary Astell, Damaris Masham and Catharine Trotter Cockburn The chapters on Elizabeth, Margaret Cavendish and Mary Astell are particularly strong—here part of the difficulty is that we do have familiar commentaries addressing the work of these women, and it is hard to try to see them in a new light. We are accustomed, for example, to think of Elizabeth merely as Descartes's correspondent. As is the case with information that is currently coming to bear on the question of Harriet Taylor Mill's input into the work of John Stuart Mill, it is difficult for us to see Elizabeth as a thinker in her own right, or, indeed, to give her the credit that Descartes himself gave her; as Broad notes, he had described her as "the only person I have so far found who has completely understood all my previous works" (p. 13). Margaret Cavendish's reputation has suffered from the somewhat scattered approach of her writings, and Broad cites her "reputation for eccentricity" (p. 38). Nevertheless, the sheer volume of her work and its allusion to the problems addressed by the Cambridge Platonists (areas also worked on by Anne Conway) demands that she be taken far more seriously than she has in the past. Astell has become known largely for her more overtly feminist works, such as A Serious Proposal to the Ladies, but she was also the author of several other pieces addressing issues in metaphysics, and again the amount of her work and its citation during her own time would militate against the notion that it should not receive thorough examination.Broad does a wonderful job of setting out the main philosophical questions found in these theorists' works, and she excels at pitting their views against those of the various male philosophers whose work—according to... (shrink)

Lines of argument to support the notion that global bioethics can use work from feminist epistemology are set out, and much of the support for such contentions comes from specific cases of ethical issues in indigenous cultures. Theorists such as Kuhse, Arizpe, Egnor and Bumiller are cited, and it is concluded that local feminist epistemologies often conflict with standard ethical views, but that the failure to incorporate feminist thought undercuts hopes to establish a viable bioethics on an international scale.

Intentionality has recently made a strong appearance in philosophy of language and even in the area which might best be described as the intersection of philosophy of language and cognitive science. That intentionality, as part and parcel of a given conceptual apparatus, may help us out in determining how best to analyze certain sorts of speech acts seems obvious. What may not be so obvious is that intentionality, even in its role as aid to the pragmatics of philosophy of language, (...) can be of assistance in epistemic justification theory. (shrink)

Using material taken from contemporary feminist theory and also from work on human rights, it is argued that rape is a form of torture, and that it operates on powerful levels, both literally and metaphorically. Part of the argument is that rape has achieved the status it has as political force for exploitation because of strong beliefs about cultural reproduction and about the roles that women play in cultural reproduction.

Edith Stein is honored today not only because of her sainthood but because of what is now seen as important and groundbreaking work in phenomenology done under especially arduous conditions. Thus it may be said with some accuracy that Stein is, among philosophers, in the comparatively rare category of being acknowledged both for her work and her exemplary life. Writing on Stein has standardly proceeded with an emphasis on the biographical factors that caused her to live and write as she (...) did. One often reads that Stein was reared in a strongly Judaic tradition—her family was more observant, for example, than the family of Simone Weil—but that experiences she had as a young woman caused her to turn in the .. (shrink)

The notion that plants, as well as animals, have a moral status is examined both in general, and with respect to the status of particularly rare plants that may be deemed to be lacking in general instrumentality, such as the Joshua tree. The work of Passmore, Singer and Santos is adduced, and several lines of argument revolving around preservation, sentiency and attractiveness to humans are constructed.

I argue that the importance of reference for scientific explanation has been overlooked, and that actual referential stability itself is more important in the success of scientific theories than many apparently believe. Citing the work of Van Fraassen and Lipton, I delineate cases of referential failure, both intratheoretically and intertheoretically, and remind us of the role played by reference in theories both realist and non‐realist. I conclude that work on such areas as contrastive explanation cannot move forward without a better (...) account of reference, and cite previously published material on the relationship between reference and epistemic access. (shrink)

When one visits Thailand, one is struck by the enormous number of temples in the urban Bangkok area, many of which are conspicuously absent from the more cherished art historical works on the art and architecture of south-east Asia. The Wat Po complex and Wat Reitmit, one discovers, whatever their virtues for the Western tourist, are not among the temples and archaeological sites mentioned in the text of such an authority as Benjamin Rowland. Nor are these temples—when cited at all—discussed (...) in the same vein as, for example, the Konarak temples of Orissa , where at least some veneration is paid to the plasticity of the carving in its depiction of sexual variety, even if the depictions themselves were at one time held to possess little or no intrinsic merit as pieces of sculpture. (shrink)

Drawing on recent advances in analytic epistemology, feminist scholarship, and philosophy of science, Jane Duran's Toward a Feminist Epistemology is the first book that spells out in the detail required by a supportable epistemology what a feminist theory of knowledge would entail.

It is argued that the thought of Lady Jane Grey has received too little attention, and that her name and beliefs need to be resuscitated. The work of Levin, DeLisle and others is alluded to, and it is concluded that Grey was a devoted Dissenter of her time with explicit beliefs.

Jane Duran's Worlds of Knowing begins to fill an enormous gap in the literature of feminist epistemology: a wide-ranging, cross-cultural primer on worldviews and epistemologies of various cultures and their appropriations by indigenous feminist movements in those cultures. It is the much needed epistemological counterpart to work on cross-cultural feminist social and political philosophy. This project is absolutely breath-taking in scope, yet a manageable read for anyone with some background in feminist theory, history, or anthropology. Duran draws (...) many comparisons and connections to Western philosophical and feminist ideas, yet avoids facile or imperialistic over-universalization. Her book is powerful, comprehensive, Pnd brave. It will prove an enormously useful resource for scholars in women's studies, philosophy, anthropology, religious studies and history. (shrink)

Spanning over nine hundred years, Eight Women Philosophers is the first singly-authored work to trace the themes of standard philosophical theorizing and feminist thought across women philosophers in the Western tradition. Jane Duran has crafted a comprehensive overview of eight women philosophers--Hildegard of Bingen, Anne Conway, Mary Astell, Mary Wollstonecraft, Harriet Taylor Mill, Edith Stein, Simone Weil, and Simone de Beauvoir--that underscores the profound and continuing significance of these thinkers for contemporary scholars. Duran devotes one chapter to (...) each philosopher and provides a sustained critical analysis of her work, utilizing aspects of Continental theory, poststructuralist theory, and literary theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scott Joplin and the Quest for IdentityEarl Stewart and Jane DuranIn his innovative work I Wanna Be Me: Rock Music and the Politics of Identity, Ted Gracyk does much to dismantle notions of cultural authenticity and theft as they are currently articulated by some critics. Explaining that such concepts are less monolithic than some have claimed, Gracyk writes:While popular musicians often "pick up" the music of other cultures, (...) such practices are culturally, politically, and morally complex. In discussing such issues, I hope to show that they are even more complex than is typically thought. Here, I borrow an insight from Michelle Moody-Adams, who argues that prevailing positions in social and cultural anthropology assume that cultures are internally integrated wholes and that each culture is fundamentally a set of self-contained and discrete practices and beliefs. The same assumptions infest discussions of appropriation in cultural studies, folk-lore studies, and ethnomusicology. But these assumptions are highly questionable.1Gracyk's overall point is that what has frequently been simplified as "theft" or "inauthentic" is not susceptible to such easy formulation; indeed, Gracyk contends there is scarcely such a thing as a pure musical tradition.Gracyk's sophisticated argument is one, however, that itself admits of gradations and emendations. While it is no doubt accurate that there is very little that might count as artistically or culturally pure (hence, very little that can justifiably be claimed to have been stolen), some work is much more evocative of a cultural point of view than other efforts, and some work is much more centrally located within a given culture and its traditions than other musical work. In this article we shall make the twofold argument that much of the work of Scott Joplin is located in a tradition that is manifestly African derived, and that the composition of such work had, as one of its motivators, the desire to make a cultural statement. Thus, more so than some of Gracyk's exemplars, Joplin's work is strongly culturally attached, and its attachment needs to be duly noted.IThe origins of Joplin's work speak to the concerns of the nineteenth century and of the period immediately subsequent to emancipation. Most of [End Page 94] the black leadership of the time was united in its belief that a nationalist art would serve in the reconstruction of the image of African Americans. During the latter part of the nineteenth century many of these leaders saw the spiritual as the ideal folkloric basis for a serious black artistic expression. In music this notion was given strong support as a result of a concurrent interest on the part of European composers in African American music—an interest fed by the aesthetic of romanticism, which encouraged artistic investment in the strange, unusual, primitive, and exotic.Most classically trained African American composers attempted to comply with the vision of these black leaders by constructing a more or less European-style music tinctured with African American folk elements. The result would be a set of works that to this day has failed to be adopted by the African American community at large.Scott Joplin tried a different approach. He sought to create an African American musical expression that would be predicated upon an African American vernacular style—ragtime. Joplin essentialized his music in many ways. First, by choosing ragtime as a stylistic paradigm he assured the preservation of black rhythm. Second, to promote continuity and coherence he often employed rhythmic relationships between contrasting sections. Third, he frequently employed African American folk idioms like pentatonicism and call-and-response (antiphony) as interregnal devices in the structure of his melodies. Fourth, to assure an intrastructural linkage with the African American vernacular music of his day, he frequently used phrase structures that were consistent with those employed in folk music, particularly the black spiritual, for example, aaab. In his opera, Treemonisha, he based his libretto largely on black dialect, thus linking it with black literary tradition. These are but a few of the devices Joplin employed to assure a strong cultural essentialism to his music. As a result, Joplin has been acknowledged as one of the great icons of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 32-39 [Access article in PDF] Aesthetics, Epistemics, and Feminist Theory Jane Duran Recent feminist analysts of aesthetics and analytic aesthetics in particular seem to have come to the conclusion that the redemption of formulated aesthetic theory from the feminist point of view is a difficult and recondite task. 1 If analytic aesthetics now looks problematic, qua fruitful philosophical enterprise, its (...) future appears bleaker still when the intersection of the androcentric nature of analytic philosophy and the larger feminist project, frequently articulated in other than analytic terms, is examined.In this essay I will assume that there is some future for analytic aesthetics, and I will not dispute the basic assumption that any portion of analytic theory is somewhat immiscible with feminist points of view. My concern, rather, will be to try to show what it is specifically in the nature of analytic theory, both aesthetic and otherwise, which renders it of dubious value to the feminist critique (at least on first blush). Although in the past feminist theorists have tried to characterize the androcentric nature of analytic philosophy on the whole in rather striking terms,it is not clear that these terms have been precise enough. 2 Further, it is not clear that analytic modes are obviously unusable for feminist theory or for the development of a still nascent feminist aesthetics, although what one wants to say here is that this task is a terribly danger-fraught one. 3My goal here is twofold: first, to articulate what precisely it is aboutanalytic aesthetics (or any portion of analytic theory, for that matter) thatmakes it a hindrance — at least preliminarily — to the development of feminist views. In order to do this I will need to examine a relatively uncharted area in the literature, that is the parallel between much of analytic aesthetic theory and analytic epistemology. The second portion of my task will runsomewhat contrary to conventional wisdom: having delineated the mostmasculinist parts of analytic endeavors, I inquire if there is, indeed, anypart of rigorously articulated analytic theory that could lend itself to the development of a feminist aesthetic. [End Page 32] Analytic Philosophy and Aesthetics Analytic aesthetics, like analytic philosophy taken as a whole, has often proceeded as if the development of conceptual clarification and theoretical rigor could do much to "solve" or dissolve aesthetic problems. George Dickie's introductory work, for example, presents the student with a number of difficult areas in aesthetics, and then proceeds to address these areas in much the same manner that other contemporary texts employ for the discussion of issues in ethics, epistemology, or metaphysics.In discussing symbolism, Dickie first attempts to clarify the use of theterm, and then notes that there are problematic areas with regard to whether or not a work of art can both contain a symbol and serve itself as a symbol simultaneously. A symbol "stands for" in some establishable way that which it symbolizes. A symbol serves to transfer someone's thought to something other than itself, and the transfer is not a random association. The transfer depends upon certain features of the symbol which give it a place in a certain meaning system. 4I cite this material as exemplary because the flavor of analytic aesthetics is remarkably similar to the flavor of analytic philosophy as a whole. We sometimes need to remind ourselves that the techniques of analysis developed in the earlier part of this century relied on breakthroughs in logic and formal representation which allowed for a certain precision in matching symbol to thing signified. The original hope of philosophers working at the time of Bertrand Russell and G.E. Moore had been to develop something close to a logically perfect language with a one-to-one relationship between signifier and signified. However without merit this somewhat arcane task, its goals infused much of the philosophizing that followed it, and even the ordinary language school was, of course, indirectly an offshoot of this work. Nicholas Wolterstorff, for example, notes that "analytic philosophy was to be 'scientific philosophy'....The goal of the analytic philosopher... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 88-94 [Access article in PDF] A Postmodern Tonantzín Jane Duran Visitors to the Puebla area in Mexico are frequently taken to the church of Santa María Tonantzínla, where they are told that they will see three or more styles of architecture simultaneously. Guidebooks to the area prominently feature this church and others like it, both as examples — or so (...) the reader is told — of the "Baroque," and as exemplars of the handiwork and craftsmanship of the indigenous.1 Because of the importance of various notions of style insofar as teaching in the arts is concerned, it might seem important to try to articulate what is meant by simultaneity of styles. In addition, today's students are often baffled by uses of the term "postmodern." In this essay I will argue that Santa María Tonantzínla may have somesurprising lessons for us all.There is no question that the visual effect of the building's interior is, in fact, stunning and that the visitor is simultaneously awed and bemused. Arrivals at this church in the Puebla suburb of Cholula see a riotous profusion of cherubs, angels, and other figures covering the walls, ceiling, nave, and almost every square inch of available space. Although some of the figures do indeed appear to bear a resemblance to those found in European structures created during the sixteenth and seventeenth centuries, other figures are more or less unrecognizable to most visitors, and clearly seem to be, as the books indicate, of non-European origin. To add to the effect of the stylistic mixing, the façade of the building is somewhat Romanesque, which only makes the interior more surprising and, in its own way, unexpected.I shall argue that work such as that at Tonantzín presents us with a variety of conceptual difficulties from the standpoint of aesthetics, and opens the door for some novel lines of argument. It is first of all quite unclear where the notion of "style" begins at Tonantzín; the boundaries are blurred and here, perhaps more than in most architectural treasures, one does not know how to announce or delineate the various styles. But much more important, [End Page 88] perhaps, is that this very amalgamation lends itself to the notion that one trope, the "postmodern," continually used in a discussion of contemporary architecture, is perhaps more relevant to Tonantzín than one might at first expect. In this essay I shall weave these two lines of argument together to support the contention that Tonantzín is, after all, postmodern. But before we can move to that assertion, it is important to try to think about what a meshing of such styles as "Spanish baroque" and "indigenous" could possibly mean, and why it has seemed urgent for writing on Tonantzín to employ these labels. Architectural Diversity In an intriguing article on the use of terms such as "modern" and "postmodern" in contemporary architecture, David Goldblatt has argued that Venturi's claim that modernity lacks what he terms diversity is more or less vacuous. As Goldblatt claims, the concept of diversity within a given work does not make much sense. More important for our purposes, Goldblatt goes on to provide a gloss on the notion of electicism, and its relation to a variety of architectural styles. He writes: When Venturi claims that modern architecture lacks diversity, he primarily means that it fails to achieve what he calls a pluralism. What he calls for is "Scarlatti and the Beatles, if diversity is to be achieved"....What Venturi is advocating is eclecticism.2As Goldblatt claims, eclecticism is the hallmark of the postmodern in architecture, and the eclectic pastiche that is Las Vegas — especially in terms of borrowed styles, ornamentation, and visible fripperies within the context of one building — becomes exemplary of that term and what it evokes. But to say simply that there may well be instances of the postmodern in architecture before the twentieth century, and before the decline of modernity itself, is to say very little. As Goldblatt... (shrink)

Much recent work has been done on Plato’s notion of the female Guardian, but examples are limited. Jane Duran argues that aristocratic women of the sixteenth and seventeenth centuries are indeed exemplary and embody the concept of Guardianship.

Two major lines of argument support the notion that Hildegard of Bingen’s metaphysics is peculiarly gynocentric. Contra the standard commentary on her work, the focus is not on the notion of viriditas; rather, the first line of argument presents a specific delineation of her ontology, demonstrating that it is a graded hierarchy of beings, many of which present feminine aspects of the divine, and all of which establish the metaphysical notion of interpenetrability. The second line of argument specifically contrasts her (...) thought to that of Aquinas and Meister Eckhart, noting areas of similarity and difference. It is concluded that the visionary origins of Hildegard’s work may have to some extent precluded our understanding of it, and that her work merits consideration not only philosophically and theologically but from the standpoint of its early presentation of a gynocentric worldview. (shrink)

This article examines the work of the seventeenth-century thinker Catharine Trotter Cockburn with an eye toward explication of her trenchant empiricism, and the foundations upon which it rested. It is argued that part of the originality of Cockburn's work has to do with her consistent line of thought with regard to evidence from the senses and the process of abstract conceptualization; in this she differed strongly from some of her contemporaries. The work of Martha Brandt Bolton and Fidelis Morgan is (...) cited, and there is an auxiliary argument to the effect that Cockburn is probably better known as a playwright than she is as a philosophical thinker. (shrink)

I cite areas of pragmatism and feminism that have an intersection with or an appeal to the other, including the notions of the universal and/or normative, and foundationalist lines in general. I deal with three areas from each perspective and develop the notion of their intersection. Finally, the paper discusses the importance of a pragmatic view for women's lives and the importance of psychoanalytic theory for finding another area where pragmatism and feminism mesh.

This book presents the current feminist critique of science and the philosophy of science in such a way that students of philosophy of science, philosophers, feminist theorists, and scientists will find the material accessible and intellectually rigorous.Contemporary feminist debate, as well as the debate brought on by the radical critics of science, assumes—incorrectly—that certain movements in philosophy of science and science-driven theory are understood in their dynamics as well as in their details. All too often, labels such as “Kuhnian” or (...) “positivistic” are taken for granted, and much of the contemporary postmodern or post-structuralist feminist theory that sets out to criticize science does little to alleviate the reader’s lack of knowledge with regard to such movements.Unlike other texts, Philosophies of Science: Feminist Theories provides a student-oriented framework so that, for example, positivism is given a thorough grounding before the feminist critique of such epistemological theory is given. Other movements discussed include the Kuhnian turn, sociology of science, and the radical critique of science. Feminist theory and critique are interwoven throughout, with one chapter devoted to feminist thought, which includes the work of such thinkers as Longino, Hararway, Hubbard, Nelson, Harding, and Keller. (shrink)

This article argues that Maria Stewart is an underappreciated abolitionist, and a worthy exponent of the Black views of the 1830s. Her work is compared with that of David Walker, Charlotte Forten, and Anna Julia Cooper. A focal point of much of her work is her exhortation to the high moral ground—she remains concerned, throughout her career, about the temptations faced by many during the nineteenth century that might lead them to a non-Christian path. As is the case with Charlotte (...) Forten, who frequently moved for more formal education, Stewart worked ceaselessly to impel Black Americans to a worthy and virtuous life. (shrink)

An analysis of the specific yogurt and phone microcredit schemes in Bangladesh is made along three lines of argument. It is important to note that these schemes are pulled together by NGO’s (non-governmental organizations) to assist women and children in developing areas to attain financial independence—the first line employs leftist criticism of the corporate constructs, and an additional line of inquiry compares some of the programs to those in other nations. A final line of argument analyzes the specific cultural views (...) of Bengali Islam and the long tradition of Bengali literacy. It is concluded that, despite areas of difficulty, the programs are in general beneficial. (shrink)