Jenefer Robinson takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone (...) engaged with the arts and aesthetics. (shrink)

Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic art (...) and pornography; or at the least, nothing can be coherently projected as both erotic art and pornography.1I have argued elsewhere .. (shrink)

Objectification is a foundational concept in feminist theory, used to analyze such disparate social phenomena as sex work, representation of women's bodies, and sexual harassment. However, there has been an increasing trend among scholars of rejecting and re-evaluating the philosophical assumptions which underpin it. In this work, Cahill suggests an abandonment of the notion of objectification, on the basis of its dependence on a Kantian ideal of personhood. Such an ideal fails to recognize sufficiently the role the body plays in (...) personhood, and thus results in an implicit vilification of the body and sexuality. The problem with the phenomena associated with objectification is not that they render women objects, and therefore not-persons, but rather that they construct feminine subjectivity and sexuality as wholly derivative of masculine subjectivity and sexuality. Women, in other words, are not objectified as much as they are derivatized, turned into a mere reflection or projection of the other. Cahill argues for an ethics of materiality based upon a recognition of difference, thus working toward an ethics of sexuality that is decidedly ­and simultaneously ­incarnate and intersubjective. (shrink)

Art or Porn? The popular media will often choose this heading when reviewing the latest sexually explicit novel, film, or art exhibition. The underlying assumption seems to be that the work under discussion has to be one or the other, and cannot be both. But is this not a false dilemma? Can one really draw a sharp line between the pornographic and the artistic? Isn't it time to make room for pornographic art and for an aesthetic investigation of pornography? In (...) answering these questions this book will draw on insights from many different disciplines, including philosophy, feminist theory, aesthetics, art history, film studies, theatre studies, as well as on the experience of people who are actually operating in the art world and porn industry. By offering a variety of theoretical approaches and examples taken from a wide range of art forms and historical periods, the reader will gain a fuller and deeper comprehension of the relations and frictions between art and pornography. (shrink)

Khader offers a deliberative perfectionist approach to identifying and responding to adaptive preferences-- deprived people's preferences that perpetuate their deprivation.

Written over a span of more than two decades, the essays by Iris Marion Young collected in this volume describe diverse aspects of women's lived body experience in modern Western societies. Drawing on the ideas of several twentieth century continental philosophers--including Simone de Beauvoir, Martin Heidegger, Luce Irigaray, Julia Kristeva, and Maurice Merleau-Ponty--Young constructs rigorous analytic categories for interpreting embodied subjectivity. The essays combine theoretical description of experience with normative evaluation of the unjust constraints on their freedom and opportunity that (...) continue to burden many women. The lead essay rethinks the purpose of the category of "gender" for feminist theory, after important debates have questioned its usefulness. Other essays include reflection on the meaning of being at home and the need for privacy in old age residences as well as essays that analyze aspects of the experience of women and girls that have received little attention even in feminist theory--such as the sexuality of breasts, or menstruation as punctuation in a woman's life story. Young describes the phenomenology of moving in a pregnant body and the tactile pleasures of clothing. While academically rigorous, the essays are also written with engaging style, incorporating vivid imagery and autobiographical narrative. On Female Body Experience raises issues and takes positions that speak to scholars and students in philosophy, sociology, geography, medicine, nursing, and education. (shrink)

Human Beauty 3. Natural Beauty 4. Everyday Beauty 5. Artistic Beauty 6. Taste and Order 7. Eros and Art 8. Sacred Beauty Notes and Further Reading.