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  1. The Theory of the Aesthetic Situation of Maria Gołaszewska (1926–2015) and Feminist Interventions in Philosophy.Natalia Anna Michna - 2024 - In Clara Carus (ed.), New Voices on Women in the History of Philosophy. Dortrecht: Springer. pp. 185-200.
    Maria Gołaszewska (1926–2015) was a Polish philosopher associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the post-war and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the perspective (...)
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  2. Personal Beauty and Personal Agency.Madeline Martin-Seaver - 2023 - Philosophy Compass 18 (12):e12953.
    We make choices about our own appearance and evaluate others' choices – every day. These choices are meaningful for us as individuals and as members of communities. But many features of personal appearance are due to luck, and many cultural beauty standards make some groups and individuals worse off (this is called “lookism”). So, how are we to square these two facets of personal appearance? And how are we to evaluate agency in the context of personal beauty? I identify three (...)
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  3. From the Feminist Ethic of Care to Tender Attunement: Olga Tokarczuk’s Tenderness as a New Ethical and Aesthetic Imperative.Natalia Anna Michna - 2023 - Arts 12 (3):1-15.
    In her Nobel speech in 2019, Olga Tokarczuk presented the category of tenderness as a new way of narrating the contemporary world. This article is a proposal for the analysis and interpretation of tenderness in ethical and aesthetic terms. (1) From an ethical perspective, tenderness is interpreted as an extension and complement of feminist relational ethics, i.e., the ethics of care. In the proposed approach, tenderness is a broader and more universal quality than care in the feminist understanding. This article (...)
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  4. Etyczne i estetyczne aspekty czułości Olgi Tokarczuk [Ethical and aesthetic aspects of Olga Tokarczuk’s tenderness].Natalia Anna Michna - 2023 - Edukacja Biologiczna I Środowiskowa 1 (79):28-43.
    In the article, tenderness, a category presented in the Nobel Prize speech by Olga Tokarczuk, is analyzed as a new ethical imperative, developing the feminist relational ethics, i.e. the ethics of care. In the proposed interpretation, tenderness is a broader category than care understood in feminist terms: it is more universal, inclusive, and unifying. Tenderness also applies to – or perhaps most of all – the world beyond-the-human, as it goes beyond the anthropocentric perspective of the ethics of care. The (...)
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  5. Women as Open Wounds: Fear, Desire, Disgust and the Ideal Feminine in the Works of Alexander McQueen and John Galliano.Danae Ioannou - 2022 - Popular Inquiry 11 (2):32-47.
    Starting from the notion of the Ideal Feminine, this paper discusses the representation of trauma and the portrayal of women as open wounds in the designs of Alexander McQueen and John Galliano. Particularly, I explore how the McQueen’s Deadly Woman and Galliano’s Doll question the boundaries between mortality, sexuality and decay. By examining the relationship between fear, desire and disgust in the aesthetic representation of the wounded fashioned body, I argue that in their works disgust functions as an empowering emotion, (...)
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  6. Bodies, Functions, and Imperfections.Sherri Irvin - 2022 - In Peter Cheyne (ed.), Imperfectionist Aesthetics in Art and Everyday Life. London: Routledge. pp. 271-283.
    The culturally pervasive tendency to identify aspects of the body as aesthetically imperfect harms individuals and scaffolds injustice related to disability, race, gender, LGBTQ+ identities, and fatness. But abandoning the notion of imperfection may not respect people’s reasonable understandings of their own bodies. I examine the prospects for a practice of aesthetic assessment grounded in a notion of the body’s function. I argue that functional aesthetic assessment, to be respectful, requires understanding the body’s functions as complex, malleable, and determined by (...)
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  7. Changing Perceptions of Beautiful Bodies: The Athletic Agency Model.Peg Brand Weiser - 2022 - In Andrew Edgar & William Morgan (eds.), Somaesthetics and Sport. Brill. pp. 85-113.
    I consider what draws us to perceiving beautiful bodies in art and athletics--repeatedly and over time--that is informed by viewers' changing perceptions derived from recent publications in fashion and sport, the philosophy of sport, feminist film theory and aesthetics under the ever-expanding umbrella of somaesthetics. This paper won the American Society for Aesthetics 2023 Somaesthetics Prize.
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  8. "Hands Tied: a roundtable on Maria Lassnig and Ayesha Hameed" (5th edition).Rachel Aumiller, Sam Dolbear, Nadine El-Enany, Amelia Groom, Clio Nicastro, Anja Sunhyun Michaelsen & M. Ty - 2021 - Another Gaze: A Journal for Film and Feminism 5:34-42.
    'Hands Tied' brings together two very different films about hands: Maria Lassnig's Palmistry (1973) and Ayesha Hameed's A Rough History (of the Destruction of Fingerprints) (2016). These works are contextualised and their scope extended further by a roundtable discussion featuring participants Rachel Aumiller, Sam Dolbear, Nadine El-Enany, Amelia Groom, Clio Nicastro, Anja Sunhyun Michaelsen, and M. Ty., who discuss their relation to fate, work, pleasure, touch, and surveillance.
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  9. Feminist Criticism: On Disturbatory Art and Beauty.Peg Brand Weiser - 2021 - In Lydia Goehr & Jonathan Gilmore (eds.), A Companion to Arthur C. Danto. Hoboken: Wiley. pp. 344-353.
    Arthur C. Danto, philosopher and art critic for The Nation from 1984-2009, offered interpretations of artworks by a wide array of artists, including Eva Hesse, Judy Chicago, and Cindy Sherman, whose "disturbatory" works were either ignored or denounced by mainstream critics at the time. Danto's championing of feminist art was deliberate and delightful; he openly endorsed the Guerilla Girls! His feminist art critical writings ultimately shaped the early development of what has come to be known as "feminist aesthetics" particularly his (...)
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  10. Forgetting Fatness: The Violent Co-optation of the Body Positivity Movement.Cheryl Frazier & Nadia Mehdi - 2021 - Debates in Aesthetics 16 (1):13-28.
    In this paper we track the ‘body positivity’ movement from its origins, promoting radical acceptance of marginalized bodies, to its co-optation as a push for self-love for all bodies, including those bodies belonging to socially dominant groups. We argue that the new focus on the ‘body positivity’ movement involves a single-minded emphasis on beauty and aesthetic adornment, and that this undermines the original focus of social and political equality, pandering instead to capitalism and failing to rectify unjust institutions and policies. (...)
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  11. On Justice as Dance.Joshua Hall - 2021 - Eidos. A Journal for Philosophy of Culture 5 (4):62-78.
    This article is part of a larger project that explores how to channel people’s passion for popular arts into legal social justice by reconceiving law as a kind of poetry and justice as dance, and exploring different possible relationships between said legal poetry and dancing justice. I begin by rehearsing my previous new conception of social justice as organismic empowerment, and my interpretive method of dancing-with. I then apply this method to the following four “ethico-political choreographies of justice”: the choral (...)
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  12. Afro-Latin Dance as Reconstructive Gestural Discourse: The Figuration Philosophy of Dance on Salsa.Joshua M. Hall - 2020 - Research in Dance Education 22:1-15.
    The Afro-Latin dance known as ‘salsa’ is a fusion of multiple dances from West Africa, Muslim Spain, enslaved communities in the Caribbean, and the United States. In part due to its global origins, salsa was pivotal in the development of the Figuration philosophy of dance, and for ‘dancing with,’ the theoretical method for social justice derived therefrom. In the present article, I apply the completed theory Figuration exclusively to salsa for the first time, after situating the latter in the dance (...)
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  13. Knitting, Weaving, Embroidery, and Quilting as Subversive Aesthetic Strategies: On Feminist Interventions in Art, Fashion, and Philosophy.Natalia Anna Michna - 2020 - Zone Moda Journal 10 (1):167-183.
    In the paper, I pose the question of how, on artistic, aesthetic, and philosophical levels, decoration and domestic handicrafts as subversive strategies enable the undermining and breakdown of class-based and patriarchal divisions into high and low, objective and subjective, public and private, masculine and feminine. I explore whether handicrafts, in accordance with feminist postulates, are transgressive, transformative, and inclusive. I link handicrafts with the feminist perspective, since, in the second half of the twentieth century, it was precisely the feminist movement (...)
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  14. A Feminist in a Patriarchal Academic Institution: The Life and Philosophy of the Polish Aesthetician Maria Gołaszewska (1926‒2015).Natalia Anna Michna - 2020 - In Umberto Mondini (ed.), Women Who Made History. Edizioni Progetto Cultura. pp. 277-291.
    Maria Gołaszewska (1926–2015), a Polish philosopher, was associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the postwar and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the perspective (...)
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  15. Glued to the Image: A Critical Phenomenology of Racialization through Works of Art.Alia Al-Saji - 2019 - Journal of Aesthetics and Art Criticism 77 (4):475-488.
    I develop a phenomenological account of racialized encounters with works of art and film, wherein the racialized viewer feels cast as perpetually past, coming “too late” to intervene in the meaning of her own representation. This points to the distinctive role that the colonial past plays in mediating and constructing our self-images. I draw on my experience of three exhibitions that take Muslims and/or Arabs as their subject matter and that ostensibly try to interrupt or subvert racialization while reproducing some (...)
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  16. Feminist Aesthetics.Gemma Arguello - 2019 - International Lexicon of Aesthetics 2 (Autumn).
    Feminist aesthetics can be characterized as a critical conceptual framework for analyzing the gender assumptions Western aesthetics, philosophy of the arts and the arts have had and their implications in the categories they have historically employed. It emerged as a result the influence feminism had in the study of gender bias in the artistic production and its reception. Works like Linda Nochlin’s Why Have There Been No Great Women Artists? (1971) and Laura Mulvey’s Visual Pleasure and Narrative Cinema (1975) were (...)
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  17. Can Knowledge be Objective? Feminist Criticism of the Traditional Ideal of the Objectivity of Knowledge.Natalia Anna Michna - 2019 - Science Et Esprit 71 (2):179-197.
    The article deals with the philosophical problem of the objectivity of knowledge in relation to the ideas and postulates advanced by feminist critics from the 1960s on. To this end, I take the historical perspective into account and present successively selected threads of feminist criticism of the traditional theory of knowledge, followed by selected positive aspects of feminist epistemology. First of all, I discuss feminist criticism of the androcentric research model, which is based on the doctrine of the disembodied, detached (...)
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  18. ‘A Lady on the Street but a Freak in the Bed’: On the Distinction Between Erotic Art and Pornography.A. W. Eaton - 2018 - British Journal of Aesthetics 58 (4):469-488.
    How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function (...)
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  19. Kobiety i kultura. O doświadczeniu w filozofii feministycznej [Women and Culture. On Experience in Feminist Philosophy].Natalia Anna Michna - 2018 - Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego.
    The book, which constitutes part of the current feminist research as broadly understood, deals in particular with issues related to the philosophical approach to women’s experience. The main thrust of the research is to ask questions such as: What is women’s experience? Is it generally possible to speak of women’s typical experiences? Does it influence knowledge, and if so, how? Does it influence women’s perception and interpretation of art, and if so, how? And finally, taking a broader perspective: can women’s (...)
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  20. Adrian Piper and the Rhetoric of Conceptual Art.Vid Simoniti - 2018 - In Cornelia Butler & David Platzker (eds.), Adrian Piper: A Reader. Museum of Modern Art Press. pp. 244-271.
    How can conceptual art contribute to political discourse? By the late 1960s, New York conceptual artists like Adrian Piper were faced with this difficult question. Conceptual artistic experiments seemed removed from the anti-war, anti-racist and feminist struggles, while personally many artists became increasingly involved in activism. I revisit the knotty relationship between art and politics through a close analysis of Piper's work in this period. Against the received view, I argue that Piper's early work was remarkably devoid of political concerns, (...)
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  21. Feminist Pornography.A. W. Eaton - 2017 - In Mari Mikkola (ed.), Beyond Speech: Pornography and Analytic Feminist Philosophy. New York, US: Oxford University Press. pp. 243-257.
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  22. (1 other version)Trump is Gross: Taking the Politics of Taste (and Distaste) Seriously.Shelley Park - 2017 - Kennedy Institute of Ethics Journal 27 (2):23-42.
    This paper advances the somewhat unphilosophical thesis that “Trump is gross” to draw attention to the need to take matters of taste seriously in politics. I begin by exploring the slipperiness of distinctions between aesthetics, epistemology, and ethics, subsequently suggesting that we may need to pivot toward the aesthetic to understand and respond to the historical moment we inhabit. More specically, I suggest that, in order to understand how Donald Trump was elected President of the United States and in order (...)
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  23. How Beauty Matters (4th edition).Peg Zeglin Brand Weiser - 2017 - In David Goldblatt & Stephanie Patridge (eds.), Aesthetics: A Reader in Philosophy of the Arts. New York: Routledge. pp. 94-97.
    How do we view, understand and appreciate a complex and challenging work of visual art such as Leon Mostovoy's Transfigure and how, in our encounter with it, does beauty matter? Transfigure Project--a 2013 book, film and photographic installation that is now also an interactive website--is "a project of corporal self-expression, presented as an experimental, visual feast" by which 'transfigure' means "to transform into something more beautiful or elevated." Photographs of fifty nude trans-identified figures can be playfully arranged in numerous combinations; (...)
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  24. You’ve come a long way, baby: the evolution of feminine identity models on the example of contemporary language of advertising.Natalia Anna Michna - 2016 - Polish Journal of Aesthetics 41 (2):99-117.
    The article presents the evolution of the language of advertising from the 1960s to the present, presenting various images of women in advertising. Simultaneously a theoretical analysis has been carried out of the demands of second-wave feminism, which exerted significant influence on the creation of images of women in the mass media. The objective of our comparison of feminist theory with advertising practice is an attempt to answer the question of whether the present media image of women liberated from the (...)
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  25. Aesthetics and Gender.Natalia Anna Michna & Carolyn Korsmeyer (eds.) - 2016 - Cracow: The Polish Journal of Aesthetics.
    Combining aesthetic theory with gender analysis opens a large and diverse territory to explore. Both familiar issues in the philosophy of art and new, expanded questions about the influence of culture on imagination and identity have become subjects of feminist research. Film, literature, graphic arts, advertising, and the legacies of history all contribute to the forces that shape self-image, desire, behavior, and social role – as well as the ability to imagine possibilities for change. This issue brings together an international (...)
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  26. Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports.Peg Brand Weiser & Edward Weiser - 2016 - In Sherri Irvin (ed.), Body Aesthetics. Oxford, GB: Oxford University Press. pp. 192-221.
    This essay is about the history of challenges that women in elite sports have faced with respect to their gender identity within a society that perpetuates misleading aesthetic norms of beauty; it is a history fraught with controversy and injustice. . . . We recommend both the acknowledgment within the realm of elite sport of perceptual sexism based on misleading aesthetic norms of beauty, and a way of correcting such erroneous categorization that allows athletes the autonomy and agency to choose (...)
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  27. Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports.Peg Zeglin Brand Weiser & Edward B. Weiser - 2016 - In Sherri Irvin (ed.), Body Aesthetics. Oxford, GB: Oxford University Press. pp. 192-221.
    The history of gender challenges faced by women in elite sports is fraught with controversy and injustice. These athletes' unique physical beauty creates what appears to be a paradox yet is, in fact, scientifically predictable. Intense training for the highest levels of competition leads to unique bodily strength and rare beauty associated with specific anatomic changes, leading top athletes to be singled out as exceptions from their gender and even excluded from competing. Authorities like the IOC and IAF, as well (...)
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  28. The Role of Luck in Originality and Creativity.Peg Zeglin Brand Weiser - 2015 - Journal of Aesthetics and Art Criticism 73 (1):31-55.
    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 (...)
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  29. Feminism: Feminisms and Tradition.Peg Zeglin Brand Weiser - 2014 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. 2nd edition (Oxford University Press). Oxford University Press. pp. 22-26.
    Feminism came to the discipline of philosophical aesthetics rather late--approximately 1990--in spite of advances made much earlier in the 1970s by feminist scholars in related fields such as literary theory, art history, art criticism, and film studies. This essay tracks notions of "tradition" within the history of aesthetics and subsequent feminist challenges to patriarchal traditions and existing philosophical practices. No one unitary feminist approach is sought; rather a multiplicity of feminisms have arisen within aesthetics that have brought new focus to (...)
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  30. Beauty Unlimited.Peg Zeglin Brand (ed.) - 2013 - Bloomington, IN: Indiana University Press.
    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 (...)
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  31. Oppression, Privilege, & Aesthetics: The Use of the Aesthetic in Theories of Race, Gender, and Sexuality, and the Role of Race, Gender, and Sexuality in Philosophical Aesthetics.Robin James - 2013 - Philosophy Compass 8 (2):101-116.
    Gender, race, and sexuality are not just identities; they are also systems of social organization – i.e., systems of privilege and oppression. This article addresses two main ways privilege and oppression (e.g., racism, misogyny, heteronormativity) are relevant topics in and for philosophical aesthetics: (i) the role of the aesthetic in privilege and oppression, and (ii) the role of philosophical aesthetics, as a discipline and a body of texts, in constructing and naturalizing relations of privilege and oppression (i.e., white heteropatriarchy). The (...)
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  32. The Fictional Character of Pornography.Shen-yi Liao & Sara Protasi - 2013 - In Hans Maes (ed.), Pornographic Art and the Aesthetics of Pornography. Palgrave-Macmillan. pp. 100-118.
    We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...)
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  33. Jenny Saville Remakes the Female Nude – Feminist Reflections on the State of the Art.Diana Tietjens Meyers - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 137-162.
    Jenny Saville is a leading contemporary painter of female nudes. This paper explores her work in light of theories of gender and embodied agency. Recent work on the phenomenology of embodiment draws a distinction between the body image and the body schema. The body image is your representation of your own body, including your visual image of it and your emotional attitudes towards it. The body schema is comprised of your proprioceptive knowledge, your corporeally encoded memories, and your corporeal proficiency (...)
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  34. ORLAN Revisited: DIsembodied Virtual Hybrid Beauty.Peg Brand Weiser - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 306-340.
    This essay offers an update on the author's thoughts on the French feminist performance artist ORLAN, analyzing her visual representations as a new category of feminist visual art, namely, virtual hybrid beauty.
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  35. ORLAN Revisited: Disembodied Virtual Hybrid Beauty.Peg Zeglin Brand Weiser - 2013 - In Peg Brand Weiser (ed.), Beauty Unlimited. Indiana University Press. pp. 306-340.
    I argued in 2000 that the French artist ORLAN may have moved away from her Reincarnation performances toward her Self-Hybridizations because she thought that in the latter she would be more transparently obvious in meaning and less frequently misunderstood. I may have overstated the ability of audiences to comprehend, however. In this essay I argue that the virtual beauty that ORLAN unfolds in her ongoing series Self-Hybridizations is not a real or actual beauty but rather a fake beauty, causally disembodied, (...)
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  36. Seductive Piety: Faith and Fashion through Lipovetsky and Heidegger.Muhammad Velji - 2012 - Comparative Studies of South Asia, Africa and the Middle East 32 (1):147-155.
    Martin Heidegger broadened the meaning of art to a truth-disclosing event akin to seemingly disparate events such as the founding of a political state, Jesus’s sacrifice for all humankind, and the questioning of a philosopher. Art makes us pay attention to it by presenting the familiar in a new and unfamiliar context and unsettles our presuppositions and reconceptualizes our way of thinking. I begin by explicating the Heideggerian interpretation of the nature of art by looking at the key concepts that (...)
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  37. The Aesthetics of Childbirth.Peg Brand & Paula Granger - 2011 - In Sheila Lintott & Maureen Sander-Staudt (eds.), Philosophical Inquiries into Pregnancy, Childbirth, and Mothering: Maternal Subjects. Routledge. pp. 215-236.
    Images abound of women throughout the ages engaging in various activities. But why are there so few representations of childbirth in visual art? Feminist artist Judy Chicago once suggested that depictions of women giving birth do not commonly occur in Western culture but can be found in other contexts such as pre-Columbian art or societies previously considered "primitive." Chicago's own exploration of the theme resulted in the creation of The Birth Project (1980-85): an unprecedented series of eighty handcrafted works of (...)
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  38. Motherhood and the Workings of Disgust.Sherri Irvin - 2011 - In Sheila Lintott & Maureen Sander-Staudt (eds.), Philosophical Inquiries into Pregnancy, Childbirth, and Mothering: Maternal Subjects. Routledge. pp. 79-90.
    I discuss two interrelated ways in which disgust functions in motherhood. First, relaxation of the mother’s sense of disgust allows her to nurture her child more effectively. Second, others’ responses of disgust are used to enforce social norms regarding the “good” mother. If the mother acquiesces, she must continually monitor and tidy her child, which may interfere with the child’s exploration of the world. If she does not, she is subject to ongoing signs that she is flawed or failing as (...)
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  39. From receptivity to transformation: on the intersection of race, gender, and the aesthetic in contemporary continental philosophy.Robin James - 2010 - In Maria del Guadalupe Davidson, Kathryn T. Gines & Donna-Dale L. Marcano (eds.), Convergences: Black Feminism and Continental Philosophy. SUNY Press.
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  40. Feminist Aesthetics and the Neglect of Natural Beauty.Sheila Lintott - 2010 - Environmental Values 19 (3):315 - 333.
    Feminist philosophy has taken too long to engage seriously with aesthetics and has been even slower in confronting natural beauty in particular. There are various possible reasons for this neglect, including the relative youth of feminist aesthetics, the possibility that feminist philosophy is not relevant to nature aesthetics, the claim that natural beauty is not a serious topic, hesitation among feminists to perpetuate women's associations with beauty and nature, and that the neglect may be merely apparent. Discussing each of these (...)
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  41. Emancipated Beauty.Peg Zeglin Brand Weiser - 2009 - In Azoulay Marc Nouschi and Elisabeth (ed.), 100,000 Years of Beauty: Modernity/Globalisations (Volume 4 of 5). Gallimard. pp. 140-142.
    This short essay is part of a 5 volume work entitled 100,000 Years of Beauty complete with more than 300 authors from over 30 countries. I was aksed to write about Simone de Beauvoir and the concept of 'emancipated beauty'; I cast Beauvoir's theory of freedom--combining liberation and equality with beauty and femininity--in defiance of the long-standing and constrictive dichotomy that says women must choose one or the other. Beauvoir's most famous phrase, "One is not born, but rather becomes a (...)
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  42. Painting the Difference: Sex and Spectator in Modern Art.Peg Brand - 2007 - Journal of Aesthetics and Art Criticism 65 (2):244-246.
    British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...)
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  43. Only a Promise of Happiness: The Place of Beauty in a World of Art. [REVIEW]Peg Zeglin Brand Weiser - 2007 - College Art Association Reviews:online.
    College Art Association Review of Nehemas' 2007 book on beauty that challenges his exclusion of consideration of issues of gender, i.e., I ask the questions, "whose beauty?" and "beauty for whom?".
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  44. Feminism and Aesthetics.Peg Brand - 2006 - In Kittay Eva Feder & Martín Alcoff Linda (eds.), The Blackwell Guide to Feminist Philosophy. New York: Wiley-Blackwell. pp. 254–265.
    This chapter presents an overview of feminism and aesthetics in the 2007 Blackwell Guide to Feminist Philosophy edited by Linda Martin Alcoff and Eva Feder Kittay. Sections cover the topics of distinguishing aesthetics and philosophy of art, bringing feminist theory into aesthetics, developing feminist challenges to aesthetics, the role of women artists in feminist aesthetics, feminist philosophers reflect on self-portraiture and women as objects of beauty, and future developments.
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  45. Feminist Art Epistemologies: Understanding Feminist Art.Peg Brand - 2006 - Hypatia 21 (3):166 - 189.
    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 (...)
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  46. Salon-Haunters: The Impasse Facing French Intellectuals.Peg Brand - 2005 - In Sally J. Scholz & Shannon M. Mussett (eds.), The Contradictions of Freedom: Philosophical Essays on Simone de Beauvoir's the Mandarins. State University of New York Press. pp. 211-226.
    Beauvoir maintains a unified "compromise theory" of aesthetics throughout her ethics, feminism, and fiction that portrays the conundrum that every artist faces -- an impasse that sets action against inaction, politics against culture. Beauvoir's theory of art in The Mandarins, aided by an analysis of women's oppression in The Second Sex, advocates art that keeps past events alive in the present and in so doing, changes even the tragic into the life affirming. Beauvoir lauds artists who, even in the face (...)
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  47. Why Does Feminism Matter To Aesthetics?Joshua Shaw - 2005 - Postgraduate Journal of Aesthetics 2 (1):1-11.
    Peter Lamarque recently reported on current trends in aesthetics in the Postgraduate Journal of Aesthetics. Noticeably absent from his list, however, is the emergence and acceptance of feminist approaches in aesthetics, especially among analytic philosophers. Yet feminism is an important movement, one that should have been included among those he discusses. Indeed, my goal is to convince you that feminism should have made it onto Lamarque’s list. Rather than criticize him, however, I want to use his oversight to ask why (...)
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  48. Introduction: Feminism and Aesthetics.Peg Zeglin Brand Weiser & Mary Devereaux - 2003 - Hypatia 18 (4):ix-xx.
    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 (...)
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  49. (1 other version)Book review: Elspeth Probyn. Carnal appetites: Foodsexidentities. London and new York: Routledge, 2000. [REVIEW]Lisa M. Heldke - 2003 - Hypatia 18 (3):240-242.
    Carnal Appetites does not fully work out a single coherent thesis. Rather, it is a preliminary exploration of a set of issues about food, culture and identity. Here is how Probyn describes her project: “The aim of this book is simple but immodest. Through the optic of food and eating, I want to investigate how as individuals we inhabit the present: how we eat into cultures, eat into identities, indeed eat into ourselves. At the same time I am interested in (...)
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  50. Glaring Omissions in Traditional Theories of Art.Peg Zeglin Brand Weiser - 2002 - In Cahn Steven (ed.), Philosophy for the 21st Century: A Comprehensive Reader. Oxford University Press. pp. 799-813.
    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,” (...)
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