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.

Shame in the deep sense of fear of exposure of human vulnerability (and not in the narrower sense of individual transgression or fault) has been identified as one mood or disposition of philosophical thinking. Philosophical imaginary, disciplinary identity and misogynistic vocabulary testify to a collective, underlying, unprocessed shame inherent to the (Western) philosophical tradition like Le Doeuff (1989), Butler (2004) and Murphy (2012) have pointed out. One aspect of collective philosophical shame has to do with disgust of or denial of (...) embodiment insofar as it poses a threat to ideals of sovereignty and rationality (Nussbaum 2006). Embodiment reveals finitude, being dependent and exposed to others (Sartre 1984; Merleau-Ponty 2012; Landweer 1999; Zahavi 2014), and ultimately points to human vulnerability as rooted in an experience of fear of shame (Gilson 2016). If the inability to process shame of embodiment has resulted in disembodied notions of the human being that may lead to defensiveness, aggression or violence, how can a constructive processing of shame based on an embodied notion of the human being result in a way of philosophical thinking that is more vulnerable? And how can philosophical thinking that has its point of departure in vulnerability, neither in the sense of the victim nor the hero but as a self-conscious emotion, lead to philosophical dialogues that can unsettle vicious cycles of shaming and blaming and are productive for deepening philosophical reflection? Susan Brison’s (2002) work on sexual violence will finally be discussed as an example of such a philosophy. (shrink)

This article contributes to recognizing and recovering women’s voices in the history of aesthetics by examining the aesthetic theory put forward in the 1860s by the Anglo-Irish philosopher and feminist Frances Power Cobbe. Cobbe addressed aesthetics and gender, maintaining that there are female geniuses. She addressed art and morality, arguing that art should always aim to express moral truth, and that artworks that express morally good thoughts poorly are artistically better than works that express morally bad thoughts well. She then (...) modified her stance to argue that beauty contains but does not reduce to goodness. Cobbe also developed a comprehensive account of the arts, their relative merits, and the criteria for evaluating them. Her account had problems; nonetheless, it was ambitious, original, and interesting, and Cobbe deserves to be recognized as a woman who made significant interventions in the history of aesthetics. (shrink)

Drawn from a larger research project exploring discourses of ability and gender, this paper identifies a narrative theme, ‘Girls Find God’, emerging both from teen-orientated television dramas and as a topic of discussion among participants in an online forum, www.smartgirls.tv. It considers the relationship between teens and the media, and the implications for the development of cultural identities and practices. Identifying some key tenets of television dramas which have a girl’s connection with the supernatural at their core, and exploring reflections (...) of on-line forum participants, I argue that the ‘Girls Find God’ narrative goes beyond a simple reinforcement of some historically inscribed relationships between divinity, gender and genius. While it is true that connectedness and service are maintained as the inevitable direction of girls’ talents and reinforced by a divine authority, this narrative also provides a locus for negotiation of what such hegemonic inscriptions might mean in contemporary contexts for girls. (shrink)

: The lies about the reasons for the U.S. war against Iraq provoked no mass public outcry in the United States against the war. What is the process of justification for this war, a process that seems to need no reasons? Mann argues that the process of justification is not a process of rational deliberation but one of aesthetic self-constitution, of rebuilding a masculine national identity. Included is a feminist reading of the National Defense University document Shock and Awe.

The lies about the reasons for the U.S. war against Iraq provoked no mass public outcry in the United States against the war. What is the process of justification for this war, a process that seems to need no reasons? Mann argues that the process of justification is not a process of rational deliberation but one of aesthetic self-constitution, of rebuilding a masculine national identity. Included is a feminist reading of the National Defense University document Shock and Awe.

ABSTRACTTranslated into English in 2004, Vladimir Jankelevitch’s book Music and the Ineffable has made a significant impact in anglophone musicology. I argue that the figure of the feminine is central to his understanding of music and musical ineffability, and use feminist philosophers’ interpretations and critiques of the figure of the feminine in his close friend and colleague Emmanuel Levinas’s work to unpack the gender politics of Jankelevitch’s book and the secondary literature on it. I focus on the figure of the (...) feminine in Time and the Other and Totality and Infinity, which are works we have evidence Jankelevitch read. There, Levinas describes the feminine as a “form of being” that is “inexhaustible, infinite” and thus “refuses thematization positively”. This is nearly identical to Jankelevitch’s definition of musical ineffability as “fertile inexplicability”. Not only is Jankelevitch’s concept of musical ineffability identical to Levinas’s concept of the feminine, it is also couched in gendered terms throughout Music and the Ineffable. “Musical ineffability” in Jankelevitch’s sense is thus a parallel to Levinas’s concept of the feminine. I then read Jankelevitch and his interpreters in musicology through feminist scholarship on Levinas to show how the former two succumb to the same ultimately patriarchal flaws as the latter. For example, just as Levinas prioritizes paternity and the reproduction of patriarchy, muiscologist Carolyn Abbate uses Jankelevitch as the white masculine other in which musicology recognizes itself as both different and the same. (shrink)

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 (...) first part addresses how systems of privilege and oppression use the aesthetic. I will discuss various ways race, gender, and sexuality, as both embodied identities and broader social institutions, work with and through “the aesthetic”. The second part addresses racism and (hetero) sexism in the discipline of aesthetics. Both in its history and its present practice aesthetics’apparent neutrality on questions of privilege and oppression is actually evidence of its investment in systems of privilege and oppression. (shrink)

Some feminists have argued that the “master's tools” cannot be utilized for feminist projects. When read through the lens of non-ideal theory, Judith Butler's reevaluation of “autonomy” and “universality” and Peaches's engagement with guitar rock are instances in which implements of patriarchy are productively repurposed for feminist ends. These examples evince two criteria whereby one can judge the success of such an attempt: first, accessibility and efficacy; second, that the use is deconstructive of its own conditions.

This essay argues that feminist theory has focused, in the main and for too long, on theories of the body, in a legitimate reaction to a Western masculine coupling of beauty with a female or idealized maternal body and the sublime with male creativity. In consequence, there are few productive feminist accounts of female or maternal beauty. However, Virginia Woolf’s writings about beauty, mothers and the body, if read through the lens of post-Lacanian theory - particularly the work of Luce (...) Irigaray and Bracha Lichtenberg Ettinger - do offer a moving and positive feminist account of women and beauty. The essay analyses Woolf’s ideas about beauty in general, before focusing on To the Lighthouse and The Voyage Out in relation to the writings of Woolf’s mother Julia Stephen. (shrink)

This paper brings a critical focus to difference and the creative arts in education with specific attention to art as a site of knowledge in New Zealand conditions. The 1990s and early 2000s are marked by a paucity of critically engaged literature on the arts in education and a conspicuous absence of discussions on the politics of difference. Alongside the global return to empirical research in education where quantifiable data‐based projects tend to attract attention ahead of fundamentally crucial questions of (...) philosophical and critical registers, there has been an apparent reinvention of liberal humanistic concepts of creative practice. These tendencies are coupled with strategic political alignments of creativity with industry. The outcome appears to be a withering of attention to the politics of difference on the vine of educational philosophy, policy and practice in art education. The paper suggests that if the creative arts are to hold or gain any purchase in the stakes of education in a global world this vine must be tended and revitalised through a rigorous application of critically framed questions so that discourses of difference can be recognised as a social and political responsibility in the art educational encounter. (shrink)

: Based on the premise that ugliness looms large in both cultural and women's consciousness of vaginas, I create a representation of the vagina's beauty as rich and sweet. Smell, taste, and touch play predominant roles as I use scholarly analysis and my own autobiographical narratives and poems and poetic language in order to redress the vagina's culturally inherited ugliness.

This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.

This paper argues that philosophical practice in the Western world, in particular analytic philosophy, suffers from problems that contribute to its lack of diversity in two senses: the exclusion of women and minorities, and a narrow choice of subjects and methods. This is not fruitful for philosophical exchange and the flourishing of philosophical thought. Three contributing factors are covered: a flawed execution when instilling intellectual humility; the gaslighting of women in philosophy; and an overemphasis on a narrow conception of intelligence. (...) The conclusion calls for a more humane and socially aware practice of philosophy. (shrink)

Susan Faludi's Backlash, first published in 1991, offers a compelling account of feminism being forced to repeat itself in an era hostile to its transformative potentials and ambitions. Twenty years on, this paper offers a philosophical reading of Faludi's text, unpacking the model of social and historical change that underlies the “backlash” thesis. It focuses specifically on the tension between Faludi's ideal model of social change as a movement of linear, step-by-step, continuous progress, and her depiction of feminist history in (...) terms of endless repetition. If we uphold a linear, teleological ideal of social change, I argue, repetition can only be thought of in negative terms—as a step backwards or a waste of time—which in turn has a negative and demoralizing impact within feminism itself. To explore an alternative model of historical time and change, I turn to the work of feminist philosopher Christine Battersby, who rethinks repetition through the Kierkegaardian mode of “recollecting forwards,” and the Nietzschean notion of “untimeliness.” I suggest that Battersby's philosophical reconceptualization of historical repetition, as a potentially creative, productive phenomenon, can be of great utility to feminists as we enact and negotiate the dynamics of backlash politics. (shrink)

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 (...) fundamental for recognizing the exclusion of women from the history of the great visual artists and how the male gaze is a predominant kind of depiction that satisfies and is designed from a masculine and heterosexual point of view. -/- During the 1970s and 1980s it started the analysis of the male gaze in literature, film and visual arts, but also the women’s artistic production demanding its recognition. However, it was not until the 1990s that philosophical feminist aesthetics was first addressed as an important and necessary area of study with the special issues Feminism and aesthetics (Hein, Korsmeyer 1990) in “Hypatia: a journal of Feminist Philosophy”, and Feminism and traditional aesthetics (Brand, Korsmeyer 1990) in “The Journal of Aesthetics and Art Criticism”. And the first introductory book on the field, Gender and aesthetics: an introduction by Carolyn Korsmeyer (2004) was published during the first decade of the 2000s. -/- Although feminist aesthetics came later than feminist political philosophy, it appeared almost at the same time as feminist perspectives of other philosophical fields, such as epistemology and philosophy of science. Like other feminist approaches to different philosophical domains, there is not a unitary feminist perspective on aesthetics, however, despite the variety of approaches, all implicitly or explicitly demand the recognition of women in its sphere of influence, that is, philosophy and the arts. Nevertheless, contrary to other fields it does not only take contributions from analytic and continental feminism, but also from cultural theory, art history, comparative literature, film theory, psychoanalysis, just to name a few disciplines and theories. Feminist aesthetics’ literature covers a broad range of topics, but the most important are the feminist critique of philosophical aesthetics and the feminist philosophy and theory of the arts. (shrink)

Overview essay of the field of feminist aesthetics updated Winter, 2021.

The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy. The philosophical usefulness of a definition of art has also been debated. -/- Contemporary definitions can be classified with respect to the dimensions of art they emphasize. One distinctively modern, conventionalist, sort of definition focuses on art’s institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, the relational properties (...) of artworks that depend on works’ relations to art history, art genres, etc. – more broadly, on the undeniable heterogeneity of the class of artworks. The more traditional, less conventionalist sort of definition defended in contemporary philosophy makes use of a broader, more traditional concept of aesthetic properties that includes more than art-relational ones, and puts more emphasis on art’s pan-cultural and trans-historical characteristics – in sum, on commonalities across the class of artworks. Hybrid definitions aim to do justice to both the traditional aesthetic dimension as well as to the institutional and art-historical dimensions of art, while privileging neither. (shrink)

This thesis examines some of the contested meanings of what it is to be a self, person and individual. The law of obligations sets the context for this examination. One of the important aspects of contemporary feminist philosophy has been its move beyond highlighting inconsistencies in political and legal theory, in which theoretical frameworks can be shown to rely upon an ambiguous treatment of women. The feminist theorists whose work is considered use these theoretical weaknesses as a point of departure (...) to propose different conceptual frameworks. I start by analysing contemporary work on the self from within both philosophy of science and feminist metaphysics to draw out common approaches from these diverse positions. These themes are then discussed in the context of the law. I then critically examine the concept of legal personhood in the work of Drucilla Cornell and her proposals for the amendment of tort law. This is juxtaposed with an analysis of the practical operation of tort law by adapting François Ewald's work on risk and insurance to English law. I concentrate on women's ambiguous position with regard to both risk and to the image of the individual that is the subject of Ewald's critique. This is followed by an examination of the changing position of women with regard to 'possessive individualism', 'self-ownership' or 'property in the person' in relation to contract law and social contract theory. There are a number of different social contracts discussed in the thesis: Cornell's reworking of John Rawls and the stories of Thomas Hobbes and of Carole Pateman. The final 'social contract' to be discussed is that of 'new contractualism', the employment of contract as a technique of government. I argue that Pateman's critique of possessive individualism continues to be relevant at a time when the breadwinner/housewife model has broken down. (shrink)

This thesis draws on poststructuralism/postmodernism to present a feminist investigation into the human body, its modes of (self)identification, and its insertion into systems of bioethics. I argue that, contrary to conventional paradigms, the boundaries not only of the subject, but of the body too, cannot be secured. In exploring and contesting the closure and disembodiment of the ethical subject, I propose instead an incalculable, but nonetheless fully embodied, diversity of provisional subject positions. My aim is to valorise women and situate (...) them within a reconceived ethics which takes account of the embodied feminine. My project entails an analysis and deconstruction of the binaries of those dominant strands of postEnlightenment thought that shape epistemology, ontology, and ethics, which in turn set the parameters of modern bioethics. More importantly, it goes on to reclaim a radical sexual difference beyond the binary, in which the female is no longer the other of the male. My enquiry, then, is strongly influenced by the discursive approach offered by both Foucault and Derrida in differential ways, but I counter their indifference to feminist concerns by qualifying their insights in the light of strategies developed by Irigaray and Spivak, among others. The main method of investigation has been through library research of primary and secondary sources in mainstream and feminist philosophy, and in bioethics. In addition, archival work in both textual and iconographic collections was carried out at the Wellcome Institute for the History of Medicine. The contribution made by this thesis is to go beyond modernist feminisms - which would simply revise and add women into existing paradigms - to radically displace and overflow the mechanisms by which women are devalued. And in developing a postmodern critique around some issues in bioethics, I have suggested a new ethics of the body which precedes the operation of moral codes. (shrink)

The discourse on kitsch has changed tone. The concept, which in the early 20th century referred more to pretentious pseudo-art than to cute everyday objects, was attacked between the World Wars by theorists of modernity (e.g. Greenberg on Repin). The late 20th century scholars gazed at it with critical curiosity (Eco, Kulka, Calinescu). What we now have is a profound interest in and acceptance of cute mass-produced objects. It has become marginal to use the concept to criticize pseudo-art. Scholars who (...) write about kitsch are no longer against it (Anderson, Olalquiaga). And since the 2000s, art students have been telling us that they “love kitsch”. The contemporary concept is strongly attached to certain colors (pink) and materials (porcelain). In this article I aspire to find some keys on how to view the history and contemporary state of the concept. My hypothesis is that the change in the use of the concept has at least partly to do with changes in the concept of art, which has lately, this is my hypothesis, become sufficiently decentralized from its original roots and boundaries (upper class, male, ethnically Central European). (shrink)

My thesis is original in placing together Wittgenstein's ideas of how language works, and arguments for the philosophical significance of the embodied and relational figure of the mother. I both use and resist a Wittgensteinian therapy to overcome the problem of the forgetting of the mother in philosophy. I begin with the problem of essentialism, important to Wittgenstein and to feminist philosophy. My reading of Wittgenstein finds an ignored lacuna between language and experience. I add in to the debate the (...) type specimen approach from botany. Adopting this approach enables me to avoid a classification which requires a true inner essence to mothering, and provides a way for me to denote the significant place of the language games of mothering in language games about women. I argue for a different symbol of the mother. I agree with Wittgenstein's account of language, but add to it. I show the importance of Wittgenstein's insight that although meaning is not fixed independently of use, use does not fix meaning in that I create new meanings for the figure of the mother. I argue, through an exploration of Wittgenstein's concept of `übersichtlichen Darstellung ; that Wittgenstein can help us to see the phenomena of our life differently, in a way that makes space for understanding female difference. His concept of a form of life provides such openings. As the Wittgensteinian agent seems distinctly un-female, I bring in the philosophy of Kierkegaard in my argument for a different relational self as mother. I argue for a Kierkegaardian flexible maternal self with mobile edges. I insert the language games of the mother into Kierkegaard's writing on women. My aim is a more adequate representation of a reality. I use the work of John Wisdom to make a bridge between Wittgenstein and the narrative form, which I use throughout. Wisdom's strategy is to engage in unconventional reflection in looking for new ways of telling philosophical stories, and in finding new patterns of meaning in the familiar. I claim that the narrative form enables me to express the shifting essence of the mother and the diversity of mothers; and to acknowledge the silences which are part of the mother's story. My aim in this thesis is creative. I use Wittgenstein to create a new kind of relation to philosophy. I do not offer a correct reading of Wittgenstein or Kierkegaard. Instead, aided by the insights provided by feminist philosophy, I write in the language games of the mother to their ideas. Thus, I bring into existence through utterance a different, feminist philosophical symbol of the mother. (shrink)