Introduction. The development of online marketing in social networks creates unique opportunities for personal selling. Especially these opportunities are manifested in online education when they buy a brand of an expert with experience in a particular field. That is why a competitive space is being formed in the Instagram social network, where a personal brand acts as a product or service. -/- Materials and methods. Studying the effectiveness of promoting a personal brand in social (...) networks based on the Instagram platform was chosen to have great visual opportunities for self-presentation. As part of the collection of empirical material, two methods were used: a survey (N-200) and content analysis of three blogger accounts with high rates of activity and popularity. -/- Results and discussion. Content analysis of bloggers showed that an algorithmic feed on a social network allows bloggers to control the content. To help them, Instagram provides statistical data on user reach, thereby capturing trends in the movement of the blogger’s audience. The main task of a blogger is to combine real and “virtual” images so as not to lose consumer confidence. A survey of social network users confirmed the importance of a personal brand for them. The survey also made it possible to identify the most popular audience requests that they expect from bloggers and their accounts: valuable reviews and recommendations, case studies and author’s solutions, storytelling, blogger’s reflections and motivating messages, live broadcasts, and stories are important. -/- Conclusions. The results obtained underline followers’ high level of interest in the bloggers’ personal brand on Instagram. The study results show that the most significant number of those involved (those who give feedback and are constantly involved in interaction with the account) is where the formation of a personal brand is built to a greater extent on the emotional level of perception of the individual. (shrink)

This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ (...) performer Ann Millett-Gallant that favors the latter interpretation, but will augment and complicate the issue by also introducing a pointed question or two taken from a recent analysis by Cynthia Freeland on objectification. I judge the works by photographer Joel-Peter Witkin to be representations of disabled persons who are empowered through agency and pride, but I also worry about the risk of multiple, conflicting interpretations on the part of viewers who do not, or cannot, entertain such enlightened readings. Like second wave feminist views about pornography that depicted women in demeaning ways, or feminist critiques of Judy Chicago’s The Dinner Party , Witkin’s photos can be judged as potentially offensive. But they are also objects of beauty—both in terms of aesthetic properties (they are magnificent studies in black and white, shadows, the human body, with many classical references) and because of the feeling of beauty and pride felt by the posers, who become performers of their own beauty and pride. I argue that beauty trumps offensiveness. Pride wins. But I’m not sure that everyone will agree. (shrink)

When it comes to online fashion, this research focused on the interaction between three factors: preferences for online fashion goods, consumer buying choices for online fashion products, and brand image. A descriptive correlational approach was used. A total of 184 sampled active online purchasers of fashion items from a population of 350 online buyers in Thailand participated in the research. The study was carried out with the use of tools that had been adopted. Descriptive data showed that respondents had (...) a high preference for online marketing, a positive attitude towards online fashion goods, a high degree of consumer buying choices towards online fashion products, and a high preference for favorable brand image in the research. There were significant variations in respondents' preferences for online shopping as well as attitudes toward fashion items and consumer purchase decisions based on age, civil status, education, monthly income, and profession, according to the results of a test of difference. A further connection test revealed that respondents' liking for online marketing tends to improve their attitude toward online fashion items and consumer buying choices. In the end, the results of multiple regression analysis revealed that age, civil status and education level, online marketing approach, attitude towards online fashion goods, and brand image and attitude are all predictors of buying choices. The study's practical consequences for an internet business are addressed. The study's practical consequences for an internet business are addressed. (shrink)

This paper offers a brand storytelling, that is a narratological account of Covid-19 pandemic’s emergence phase. By adopting a fictional ontological standpoint, the virus’ deploying media story-world is identified with a process of narrative spacing. Subsequently, the brand’s personality is analyzed as a narrative place brand. The narrative model that is put forward aims at outlining the main episodes that make up the virus’ brand personality as process and structural components (actors, settings, actions, relationships). A series (...) of deep or ontological metaphors are singled out as the core DNA of this place brand, by applying metaphorical modeling to the tropical articulation of Covid-19’s narrative. The virus’ kernel is identified with terror, as a menacing force that wipes out existing regimes of signification due to its uncertain motives, origins and operational mode. In this context, familiar urban spaces, cultural practices and intersubjective communications are redefined, repurposed and reprogrammed. This process is called terrorealization, as the desertification and metaphorical sublation of all prior territorial significations. This study contributes to the narrative sub-stream of place branding by approaching a globally relevant sociocultural phenomenon from a brand storytelling perspective. (shrink)

The ontology of marketing, particularly the question of what products and brands are, is still largely unexplored. The ontological status of brands hinges on their relationship with products. Idealists about brands see perceptual or cognitive acts of consumers grouped under the heading ‘brand awareness’ or ‘brand image’ as constitutive for the existence of brands so that, in their view, tools of the marketing mix can influence relevant mental dispositions and attitudes. Brand realists, on the other hand, reject (...) the view of brands as mere marks or names and interpret them as emergent products with properties that afford branding in the sense of Gibson’s ecological psychology. Brand strength is a function of the degree to which brands occupy defensible niches in product space. Branding as a process involves changing external or internal boundaries of products. Several arguments are proposed in favor of brand realism. The fragments of an ontology of marketing are developed in a broadly Aristotelian framework. Brand realism has significant implications for a new understanding of issues ranging from the effects of advertising to financial brand valuation, the nature of trademarks, and marketing strategy in general. It permits one to treat brand equity as a real phenomenon not dependent on associations, attitudinal states such as brand loyalty, or spurious constructs such as brand character or personality. (shrink)

Like Aristotle, Thomas Aquinas holds that the rational soul is the substantial form of the human body. In so doing, he takes himself to be rejecting a Platonic version of substance dualism; his criticisms, however, apply equally to a traditional understanding of Cartesian dualism. Aquinas’s own peculiar brand of dualism is receiving increased attention from contemporary philosophers—especially those attracted to positions that fall between Cartesian substance dualism and reductive materialism. What Aquinas’s own view amounts to, however, is subject to (...) debate. Philosophers (such as J. P. Moreland and Scott Rae) have claimed that ‘Thomistic substance dualism’ (TSD) centers around two beliefs: (1) the rational soul is an immaterial substance, and (2) this immaterial substance is the human person. In this paper, I argue that labeling such an account ‘Thomistic’ proves dangerously misleading—not only does Aquinas himself explicitly deny both of these claims, but he denies them for philosophically significant reasons. Furthermore, I argue that Aquinas’s own position provides an account of human nature both more coherent and philosophically attractive. (shrink)

The COVID-19 pandemic has intensified the extent to which economies in the developed and developing world rely on gig workers to perform essential tasks such as health care, personal transport, food and package delivery, and ad hoc tasking services. As a result, workers who provide such services are no longer perceived as mere low-skilled laborers, but as essential workers who fulfill a crucial role in society. The newly elevated moral and economic status of these workers increases consumer demand for (...) corporate social responsibility regarding this stakeholder group – specifically for practices that increase worker freedom and rewards. We provide algorithmic tools for online labor platforms to meet this demand, thereby bolstering their social purpose and ethical branding while better protecting themselves from future reputational crises. To do so, we advance a managerial strategy rooted in moral self-awareness theory in order to leverage customers’ virtuous self-perception and increase gig-worker freedom. (shrink)

Both Millikan’s brand of naturalistic analytic philosophy and Husserlian phenomenology have held on to teleological notions, despite their being out of favor in mainstream Western philosophy for most of the twentieth century. Both traditions have recognized the need for teleology in order to adequately account for intentionality, the need to adequately account for intentionality in order to adequately account for meaning, and the need for an adequate theory of meaning in order to precisely and consistently describe the world and (...) life. The stark differences between their accounts of these fundamental concepts stem from radically different conceptions of the world, the natural and life. I argue that Millikan’s teleosemantic approach relies on a teleology of determination by means of the lawfulness of nature that leaves no room for the freedom of self-determination, for reason, or for experience—for the reality of lived human life. In contrast to Millikan’s account, Husserl’s transcendental phenomenology situates teleology as a function of reason and first-personal experience, part of an extended account of intentionality and meaning according to which the full range of our making sense of the world is conceived as a rational activity that is itself a part of that world, and not an unnatural activity to be separated from it. While Husserl’s account of these issues is indeed symptomatic of what Millikan calls “meaning rationalism,” I argue that it is immune to the sorts of problems she claims will plague any such account, since these problems arise only against the background of a set of presuppositions about intentionality that Husserl does not share. Husserl’s position can itself be understood to be within the bounds of a suitably liberal conception of naturalism, and interpreting him in this way it has the added benefit—contra Millikan—of not divorcing teleology from reason, the latter construed as our first-personal striving to make sense of the world as we experience it—of life. (shrink)

The Oxford Handbook of Metaphysics offers the most authoritative and compelling guide to this diverse and fertile field of philosophy. Twenty-four of the world's most distinguished specialists provide brand-new essays about 'what there is': what kinds of things there are, and what relations hold among entities falling under various categories. They give the latest word on such topics as identity, modality, time, causation, persons and minds, freedom, and vagueness. The Handbook's unrivaled breadth and depth make it the definitive reference (...) work for students and academics across the philosophical spectrum. (shrink)

‘Modest’ and ‘full-blooded’ conceptions of meaning disagree on whether we should try to provide explanations of reference. In this paper, I defend a psychological brand of the full-blooded program. As I understand it, there are good reasons to provide a psychological explanation of referential abilities. This explanation is to be framed at an intermediary level of description between the personal level and the explanations provided by neuroscience. My defense of this program has two parts: First, I display the (...) explanatory insufficiency of truth-conditional semantics and, second, I respond to some widespread arguments against psychological explanations of referential abilities. (shrink)

The role of autobiographical memory is not just to relate us to our past self, but also to shape the future self of ours by helping us navigate the complex world we encounter in our every-day lives on a stable basis: some more or less vivid idea of who we really are as persons, as individual beings with distinct selves and unique identities. In this sense memory has also to do with being and becoming, and not just with having been. (...) The advances in the field of memory neuroscience have resulted in what is called memory reconsolidation, that is, techniques to suppress, modify, or enhance certain memories that have to do with our moral identity and moral status. In this presentation I will discuss certain potential implications of memory reconsolidation that are in my view of key importance for neuroethics, and especially for the debate concerning moral identity, agency and status in the brand-new landscape that has been shaped by the novel capabilities neuroscience has made available. (shrink)

Philosophy of action in the context of Classical China is radically different from its counterpart in the contemporary Western philosophical narrative. Classical Chinese philosophers began from the assumption that relations are primary to the constitution of the person, hence acting in the early Chinese context necessarily is interacting and co-acting along with others –human and nonhuman actors. This book is the first monograph dedicated to the exploration and rigorous reconstruction of an extraordinary strategy for efficacious relational action devised by Classical (...) Chinese philosophers in order to account for the interdependent and embedded character of human agency –what the author has denominated “adapting” or “adaptive agency” (yin 因). As opposed to more unilateral approaches to action also conceptualized in the Classical Chinese corpus, such as forceful and prescriptive agency, adapting requires great capacity of self and other-awareness, equanimity, flexibility, creativity, and response, which allows the agent to co-raise courses of action ad-hoc: unique and temporary solutions to specific, non-permanent, and non-generalizable life problems. Adapting is one of the world’s oldest philosophies of action, and yet it is shockingly new for contemporary audiences, who will find in it an unlikely source of inspiration to deal with our current global problems. This book explores the core conception of adapting both on autochthonous terms and by cross-cultural comparison, drawing on the European and Analytic philosophical traditions as well as on scholarship from other disciplines, opening a brand-new topic in Chinese and comparative philosophy. (shrink)

Mark Siderits’ confluence approach to philosophy, first sketched in his landmark monograph, Personal Identity and Buddhist Philosophy (2003), is emblematic of what has arguably become the most influential way of engaging historically and culturally distant Buddhist thinkers and texts systematically and constructively. For nearly half a century, and rather fittingly for someone enthralled by Madhyamaka, Siderits has successfully charted a middle ground between the text-based, exegetical approach to Buddhist philosophy still dominant in many parts of Europe and East Asia (...) and the methods of contemporary Anglophone analytic philosophy. Indebted to both, yet unconstrained by either, the confluence approach represents Siderits’ unique brand of historically-informed systematic reflection, delivered in the characteristically forceful and tightly argued prose that defines his inimitable style. (shrink)

In the contemporary era, we identify ourselves based on what we consume or what we possess. Besides, various advertisements, celebrities, and other influential personalities encourage and make us believe that we can make a new identity by consuming a specific brand, or relating to a particular institution or connecting with an extraordinary group, etc. Hence, we tend to identify ourselves with consumer goods. In such conditions, Srimad Bhagwat Gita becomes significantly relevant to look for alternative way of life. This (...) paper attempts to explore the concept of Self in Gita as a model for realizing environmental consciousness. Largely, it will analyse the concepts of Nishkama Karma (Detached Action) and the Self to see what it may contribute in developing an apt environmental consciousness. With the analysis of these concepts the paper tries to probe for an epistemological and metaphysical alternative to the Ecology understanding. (shrink)

Scientific realists argue that a good track record of multi-agent, and multiple method, validation of empirical claims is itself evidence that those claims, at least partially and approximately, reflect ways nature actually is independent of the ways we conceptualize it. Constructivists contend that successes in validating empirical claims only suffice to establish that our ways of modelling the world, our “constructions,” are useful and adequate for beings like us. This essay presents a thought experiment in which beings like us intersubjectively (...) validate claims about properties of particular things in nature under conditions in which those beings have profoundly different personal phenomenological experiences of those properties. I submit that the thought experiment scenario parallels our actual situation, and argue that this shows that successes in intersubjectively validating empirical claims are indeed enough to claim victory for the realist. More specifically, I champion a variation of realism that marries Ronald Giere’s brand of ‘perspectival realism’ with Philip Kitcher’s ‘real realism,’ and posits that causal relations between ourselves and properties instantiated in nature ground our references to the relevant properties even though our conceptions of them are perspective relative. (shrink)

Theology from Mircea Eliade to Fr. Dumitru Stăniloae When someone tries to present the spiritual characteristics of a people, his findings will be both appreciated and criticized. It is very difficult to talk about the people among whom you were born and have lived without falling into overrating or underestimation errors of the role and the place it had and it played in human history, in general, and that of each individual, in particular. From these positions, two of the (...) class='Hi'>brand personalities of our people: Mircea Eliade (world famous scientist, one of the greatest historians of religions from all times) and Fr Dumitru Stăniloae (the greatest modern Romanian Orthodox theologian whose work is globally recognized by representatives of all Christian denominations) wrote about Romanian culture and spirituality and the role they occupy in the history of Europe. Beyond the differences in thinking between the two, remains the common place where the theologian and the historian of religion complement each other: the culture and spirituality of the Romanian people. (shrink)

Problem statement. Modern marketing requires effective tools to attract and retain customers, as well as improve communication with the audience. In this context, the use of artificial intelligence, in particular, ChatGPT (Generative Pre-trained Transformer), can be a promising innovative solution. However, the conclusions about the potential benefits and limitations of using ChatGPT in marketing are ambiguous, due to the little experience gained in this area. The purpose of the study is to assess the potential of using ChatGPT in marketing strategies, (...) to study the opportunities and challenges it presents for improving the efficiency of communication with customers and brand development. The methodological basis of the study is based on modern research on marketing and artificial intelligence and analysis of the results of using ChatGPT in real marketing campaigns. The main hypothesis of the study is the assumption that the use of ChatGPT in marketing can improve the quality of customer service, increase brand engagement, and increase customer loyalty. Summary of the main research material. The study examines the results of using ChatGPT in marketing strategies, in particular in online communications, especially in areas where personal interaction with customers is important. The working hypotheses were confirmed based on the analysis of data and information collected during the study. Possible limitations and challenges related to the implementation of ChatGPT in marketing practices were identified. The originality and practical significance of the study lies in the fact that the analysis helped to reveal the potential of using ChatGPT in marketing strategies and made it possible to formulate recommendations on the optimal use of this technology to attract and retain customers. Conclusions and prospects for further research. The conducted research allowed us to state that the use of ChatGPT in marketing contributes to increasing the efficiency of marketing activities of the enterprise in general and improving communications with customers in particular. Further research may include the development of new algorithms and strategies for the optimal use of artificial intelligence in marketing. (shrink)

The outbreak of the Covid-19 pandemic leads to e-commerce’s explosive growth with brands such as Shopee, Lazada, Tiki, Sendo and The Gioi Di Dong, etc. Since then, e-commerce activities have been going into practice in the life of every Vietnamese person and are constantly developing. The article presents the current situation of the e-commerce industry in recent years through discussion to analyze, evaluate and have a broader perspective on the development of e-commerce, thereby offering some development policies.

Cartea prezintă modele de afaceri, management, analize și strategii care ajută la dezvoltarea și punerea în valoare a unei organizații, în contexte specifice economice, sociale, culturale sau de altă natură, prin elaborarea și implementarea unor planuri personalizate. Capacitatea unei organizații de a procesa informații este în centrul competențelor organizatorice și manageriale, iar strategiile unei organizații trebuie să fie proiectate pentru a îmbunătăți funcționalitatea și eficiența corporativă și, întrucât sistemele de management care furnizează această capabilitate au devenit formalizate și automatizate, competențele (...) sunt testate dur la mai multe niveluri. Organizațiile trebuie să fie capabile să învețe și să se adapteze în moduri care nu au fost niciodată atât de evidente înainte. Managementul strategic implică formularea și punerea în aplicare a obiectivelor și inițiativelor majore luate de conducerea de vârf a unei companii în numele proprietarilor, luând în considerare resursele și o evaluare a mediilor interne și externe în care organizația evoluează. El implică conceptele conexe de planificare strategică și gândire strategică. Prin analiza afacerii se identifică nevoile de afaceri și se stabilesc soluțiilor la problemele de afaceri. Soluțiile includ adesea o componentă de dezvoltare sisteme-software, dar pot consta și în îmbunătăţirea procesului, schimbarea organizațională sau planificarea strategică și elaborarea politicilor. CUPRINS: Afaceri - Formele de bază de proprietate - Clasificări - Management - - Restructurarea întreprinderilor de stat - Reglementări organizaţionale şi legislative - Evidenţa contabilă - - Procesul - Marketing - - Orientarea spre client - - Orientarea organizaţională - - - Comportamentul de turmă - - - Alte orientări - - Cercetarea în marketing - - - Mediul de marketing - - - Segmentarea pieţei - - - Tipuri de cercetare de piață - Publicitate - - Teoria publicităţii - - - Modele ierarhia-efectelor - - - Marketing mix - - Medii pentru publicitate - - Semiotica - - Efecte de gen în procesarea publicității - Inteligența în afaceri (Business intelligence) - - Componente - - Istorie - - Depozitarea datelor - - Comparație cu inteligența competitivă - - Comparație cu cercetarea analitică de afaceri - - Aplicații într-o întreprindere - - Prioritizarea proiectelor - - Factori de succes în implementare - - - Suportul afacerii - - - Nevoile afacerii - - - Cantitatea și calitatea datelor disponibile - - Aspect utilizator - - Date semistructurate sau nestructurate - - - Date nestructurate vs. date semistructurate - - - Probleme cu date semistructurate sau nestructurate - - - Utilizarea de metadate - Antreprenoriat - - Definiţie - - Decizii antreprenoriale - - - Antreprenoriatul ca o proiectare a relațiilor individuale/oportunități - - - Percepţia antreprenorială - - - Stiluri antreprenoriale - - Aspecte psihologice - Franciza - - Cele mai mari lanțuri de franciză - - Taxe și termeni contractuali - - Justificare și comutarea riscului - - Obligațiile părților - - Francize sociale - - Franciza logistică de la terți - - Franciza de evenimente - - Francize la domiciliu Managementul afacerii - Managementul informațiilor - - Aspecte teoretice - - - Teorii comportamentale și organizaționale - - - Teoria economică - - Managementul informațiilor strategice - - - Alinierea tehnologiilor și strategiilor de afacere cu managementul informațiilor - - - Un model de portofoliu contemporan pentru informații - - - Competențe pentru gestionarea calității informațiilor - - - Rezumat - - Operaționalizarea managementului informațiilor - - - Gestionarea schimbării necesare - - - Opera timpurie a lui Galbraith - - - Organizații matriceale - - Informații în sursă deschisă - - - Surse deschise pentru informații - - - Definiții pentru OSINT - - - Informații competitive - - - OSINT în afaceri - Managementul strategic - - Definiţie - - - Formularea - - - Implementarea - - - Diverse definiții ale strategiei - - Concepte și cadre - - - Analiza SWOT - - - Curba de experiență - - - Strategia corporativă și teoria portofoliului - - - Avantaj competitiv - - - Structura industriei și a rentabilitatea - - - Strategii competitive generice - - - Lanțul valoric - - - Competențe de bază - - - Teoria afacerii - - Gândirea strategică - - Planificarea strategica - - - Analiza mediului - - - Planificarea scenariului - - - Măsurarea și controlul implementării - - - Evaluarea - - Limitări - - Abordări pentru managementul strategic - - - Ierarhia de strategie - Managementul relațiilor de afaceri - - Tendințe în dezvoltarea MRA - - Prezentare generală și obiective - - - Ca disciplină - - - Ca rol organizațional - - - Ca model - - Ciclurile de viață ale MRA - - Principiile MRA - - - Măsurare și analiză - - - Scop - - - Reputație și încredere - - - Guvernare - - - Limite - - - Schimb și reciprocitate - Managementul relațiilor de intreprindere - - Instrumente și metodologii - Software de afaceri - - Tipuri de instrumente de afaceri Analiza afacerii - Tehnici de analiză de afaceri - - PESTLE - - Heptaliza - - MOST - - SWOT - - CATWOE - - Cele şase pălării în gândire ale lui de Bono - - Cinci "De ce" - - MoSCoW - - VPEC-T - - SCRS - Cercetarea analitică - - Cercetarea analitică vs. analiză - - Exemple - - - Optimizarea de marketing - - - Cercetarea analitică de portofoliu - - - Cercetarea analitică de risc - - - Cercetarea analitică digitală - - - Cercetarea analitică de securitate - - - Cercetarea analitică în software - - Provocări - - Riscuri - Evaluarea afacerii - - Standardul și premisa valorii - - Standardele de valoare - - Premise de valoare - - Elemente ale evaluării afacerii - - - Condițiile economice - - - Analize financiare - - - Normalizarea situațiilor financiare - - - Venituri, active și abordări de piață Strategia de afaceri - Cele trei procese ale strategiei în afaceri - - Formularea strategiei - - Implementarea strategiei - - Evaluarea strategiei - - - Adecvarea - - - Fezabilitatea - - - Acceptabilitatea - Planificarea strategică - - Procesul - - - Prezentare generală - - - Intrări - - - Activităţi - - - Ieşiri - - - Rezultate - - Instrumente și abordări - - Planificarea strategică vs planificarea financiară - - Critici - - - Planificarea strategică vs gândirea strategică - Gândirea strategică - - Gândirea strategică vs planificarea strategică - - Competențe de gândire strategică - Modele de afaceri - - Perspective teoretice și empirice ale modelelor de afaceri - - - Logica proiectării și coerență narativă - - - Complementarități ale modelelor de afaceri între firme partenere - - Clasificarea modelelor de afaceri - - - Cadrul V4 BM - - - Trecerea de la conducte la platforme - - - Modele de afaceri platformă - - Aplicații - - Proiectarea modelului de afaceri - - - Definiții ale modelului de afaceri - - Definiții ale proiectării sau dezvoltării modelului de afaceri - - - Evidențierea temelor de proiectare a modelului de afaceri - - - Evidențierea conținutului de proiectare pentru proiectarea modelului de afaceri - - Exemple de modele de afaceri - - - Model de afaceri clasic - - - Modele de afaceri colective - - - Modelul renunțării la intermediari - - - Modelul de vânzări directe - - - Modele de afaceri de distribuție - - - Modelul revânzării cu valoare adăugată - - - Primul plătește, apoi gratuit - - - Franciza - - - Modelul de afaceri în aprovizionare - - - Modelul de afaceri cu gratuități - - - Plătești ce poți - - - Plătești ce dorești - - Cadrele pentru model de afaceri - - Concepte înrudite Documente în afaceri - Planul de afaceri - - Audiența - - Conținut - - Prezentare - - Revizuirea planului de afaceri - - - Depășiri de costuri și scăderi ale veniturilor - - Probleme juridice și de responsabilitate - - - Cerințe de publicare - - - Limitări privind conținutul și audiența - - Planuri de afaceri deschise - - Utilizări - - Planul de afaceri pentru organizațiile non-profit - Elaborarea unui plan de afaceri - - Rezumatul - - Context organizațional - - - Declarația de misiune și modelul de afaceri - - - Statusul curent - - - Istorie - - - Echipa de management - - Planul de marketing - - - Stabilirea prețului - - - Managementul cererii - - - Distribuirea - - - Promovare și dezvoltare de brand - - Planul operațional - - - Planul de cercetare și dezvoltare - - - Planul de fabricație/de implementare - - - Planul de tehnologia informației și comunicațiilor - - - Planul de personal - - - Modelul alocării costurilor - - Planul financiar - - - Finanțarea actuală - - - Nevoile de finanțare - - - Planul de finanțare - - - Istoria financiară - - - Previziuni financiare - - - Evaluarea - - Analiza de risc - - - Evaluarea riscurilor - - - Planul de management al riscului - - Criterii de decizie - Planuri și strategii de marketing - - Procesul de planificare a marketingului - - Scopurile și obiectivele planificării marketingului - - - Planuri și programe detaliate - - Conținutul planului de marketing - - - Firmele mijlocii și mari - - Măsurarea progresului - - Analiza performanței - - - Analiza vânzărilor - - - Analiza cotei de piață - - - Analiza cheltuielilor - - - Analiza financiară - - - Folosirea planurilor de marketing - - Bugetele ca instrumente manageriale - - Strategia de marketing - - - O parte esențială a strategiei corporative generale - - - Tactici și acțiuni sectoriale - - - Tipuri de strategii - - - Modele strategice - Propuneri de afaceri - - Tipuri de propuneri - - - Propunerea solicitată informal - - - Propunerea nesolicitată - - Componente - - - Propunerea formal solicitată - - - Propunere de afaceri solicitată informal - - Gestionarea propunerilor de afaceri - - - Procesul de management al propunerilor - - Scrierea propunerilor - - - Propunerile interne - - - Contract de sursă unică - - - Format - - - Titlu - - - Rezumat - - - Declarația și Metoda - - - Buget - - - Informații biografice - - - Valori ale sponsorilor - - - Credibilitatea solicitantului - - - Logica propunerii - - - Psihologia propunerii - - Strategia de marketing - - - O parte esențială a strategiei corporative generale - - - Tactici și acțiuni sectoriale - - - Tipuri de strategii - - - Modele strategice Referinţe Despre autor - Nicolae Sfetcu - - De același autor - - Contact Editura - MultiMedia Publishing . 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Many people go outdoors in winter for skiing, snowboarding, sledding, snowmobiling and some other activities that all fall within the realm of winter tourism. Winter tourism is a source of both personal and public health, and thus a source of prosperous living. Along with that, it is a conspicuous economic phenomenon that generates millions of dollars in annual revenue for stakeholders. Hence, this type of tourism is of top importance, and thus one of the main concerns to many snowy (...) destinations with high altitudes such as those in Austria, Switzerland, Germany, Italy, and Turkey. Stakeholders such as entrepreneurs, business professionals, state incumbents, and tourism, leisure, and sports scholars should benefit from both precedent and unprecedented principles and practices to cultivate the industry, and they should constantly seek to improve the winter tourism experience. Therefore, it is aimed to drive implications from the success of a cult winter tourism location MooserWirt in Sankt Anton herein by depending on a web-based examination. MooserWirt is an après-ski bar located in a world-famous village and ski resort called St Anton at the Arlberg Massif in Austria. The bar is open in winter seasons starting from early December to the end of April. It serves daily between 11 a.m. and 8 p.m. up to three thousand people. The bar team starts serving food and beverage at 11 a.m. Then at 3:30 p.m., the bar’s magnate –DJ starts his ritual music party that captivates and amuses hundreds if not thousands of ski-goers. MooserWirt is regarded as one of the best après ski lodges throughout the world. Many people would ask for the principles of such a success. By depending on a web-based examination of the case, we can respond to that kind of a call with a few generic implications. First of all, one of the main features that makes the bar special seems to be its music parties. People mostly comment that the bar has a music mogul –DJ, and enjoyable mixtures of music that charm the audience. Furthermore, the bar has heretofore hosted the prominent TV show known as Après Ski Hits featuring various famed singers and bands on outdoor stage performance many times to commence the season. Secondly, many people acknowledge that the bar has an eye-catching menu with delightful foods and beverages of local ingredients with a reasonable tariff. Third, we deduce that the bar serves with an agile and friendly team that satisfies the customers in general. Various people appreciate the performance of the staff. Last but not least, the bar has an elegant architectural design with a comfortable ambiance enclosed by a typical winter landscape. Overall, MooserWirt is a quality locale as it commonly meets the expectations of skiers of an après-ski lodge. In conclusion, MooserWirt has been seemingly building up a tradition through quality over the decades. It is distinctive through product differentiation. It serves with dedicated personnel adhering to quality service that generates customer satisfaction, and it uses a powerful marketing strategy that leads to having worldwide visibility and being a mind-anchored brand with preeminence. (shrink)

The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. Three essays follow this introduction authored by Marica Muelder Eaton, Paul C. Taylor, and Susan Bordo. They represent a conjoined effort to move 'beauty' beyond the traditional parameters of past contextual theories of art. This introductory essay offers some guidance as (...) to why a symposium on beauty merits attention in 1999. (shrink)

ABSTRACT:Many companies engage in dialogue with nongovernmental organizations about societal issues. The question is what a regulative ideal for such dialogues should be. In the literature on corporate social responsibility, the Habermasian notion of communicative action is often presented as a regulative ideal for stakeholder dialogue, implying that actors should aim at consensus and set strategic considerations aside. In this article, we argue that in many cases, communicative action is not a suitable regulative ideal for dialogue between companies and NGOs. (...) We contend that there is often an adversarial element in the relation between companies and NGOs, and that an orientation towards consensus can be in tension with this adversarial relation. We develop an alternative approach to stakeholder dialogue called ‘agonistic deliberation.’ In this approach, conflict and strategic considerations play a legitimate and, up to a certain point, desirable role. (shrink)

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

One of the main contentions of the framework for Responsible Innovation (RI) is that social and ethical aspects have to be addressed by deliberative engagement with stakeholders and the wider public throughout the innovation process. The aim of this article is to reflect on the question to what extent is deliberative engagement suitable for conducting RI in business. We discuss several tensions that arise when this framework is applied in the business context. Further, we analyse the place of deliberative engagement (...) in several theories of business ethics. We conclude that there remains a tension between the ideal of RI and the way in which the competitive market operates. Hence, RI scholars should reflect more critically on changes that are required in the market in order to make RI possible, modify the ideal of deliberative engagement for RI in business, or attempt to strike a balance between these two responses. (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

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 (...) of self-doubt, continue to engage in artistic endeavors in order to maintain an ethical relationship to the rest of humanity. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

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 body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

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,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.”. (shrink)

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.

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,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.” This essay was originally published in The Proceedings of the Twentieth Century World Congress of Philosophy (1999) and reprinted in Noel Carroll, ed., Theories of Art Today (The University of Wisconsin Press, 2000). (shrink)

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 (...) replicating a cultural bias that links an artist to particular mental processes that are unnecessarily exclusive. An experiential account of creativity like the one recently advanced by Bence Nanay not only disadvantages those artists whose lived experiences reflect fewer social opportunities than their counterparts, but also invokes a concept of luck that undermines the role of originality within an artwork's overall aesthetic value. (shrink)

In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...) there are counterexamples to the entire conditional. With regard to (ii), I will suggest that conventionality is necessary for creativity. [This was my first published paper, written as a graduate student, taken from my University of Illinois at Chicago dissertation written with Professor George Dickie on the topic of conventions, utilitizing David Lewis' definition of "convention."]. (shrink)

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 (...) bibliography by Joshua Shaw. (shrink)

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 (...) art created in a variety of needlework techniques by more than 130 artisans that celebrate the experience of birth and a woman's transformation into motherhood. But why is The Birth Project an aberration from today's norm? What are the reasons that childbirth remains a taboo subject in our visual culture? Why is the birthing experience--so pervasive for women--so infrequently celebrated, even by female artists? (shrink)

In our paper "Surface and Deep Interpretation," we sought to provide detail and texture to Arthur Danto's views on interpretation, thereby explicating and defending them (as published in Mark Rollins, ed., Danto and His Critics (Blackwell, originally published 1993; second edition 2012). Leddy objects to our views; in the end, Danto's view, given our explication of it, remains tenable.

Sheryl Clark's 2021 book, "Sporty Girls: Gender, Health and Achievement in a Postfeminist Era," explores how girls navigate complex identities shaped by sports participation and societal expectations. Clark examines the complex pressures faced by girls in London and beyond, and how these experiences inform broader discussions on gender, health, and identity through sports participation in contemporary culture. This volume is one of nine titles comprising an ongoing Palgrave Macmillan series under the umbrella concept of New Femininities in Digital, Physical and (...) Sporting Cultures (NFDPSC), co-edited by four international scholars in sociology, health, sport, and public policy. (shrink)

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 (...) objects, or that women’s subjectivity is eroded by the visual treatment they receive at the hands of male artists such as Manet and Picasso. He wants to show that what is depicted in the picture plane by the (typically male) artist and enjoyed by the (typically male) spectator is more nuanced than just a simple privileged understanding between two men. He adds a third (and possibly fourth or more) party to the mix when he significantly redefines and expands our concept of the gaze: “A gaze may also be conceived of as a function of a painting’s represented content” (p. 9). In other words, a gaze may be “addressed outward by a represented figure,” and regardless of who and where, “the assumption conveyed by the term [‘gaze’] is that some differential and usually asymmetrical relation will be at stake in any exchange between one who directs the gaze and another at whom it is directed. In fact, it is just this difference—in age, in sex, in class, in interest, in power —that the operation of the gaze tends to mark” (p. 9). Referring to a woman depicted within the picture plane, he asks us to consider, “What does it feel like to look like this?” (p. 21) in order to entertain our many emotional responses and interpretations. When he adds, “What does it feel like to whom?” the sexual difference of the spectator also clearly comes into play. (shrink)

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does solidarity (...) eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief. (shrink)

This is the co-authored--with Carolyn Korsmeyer--Introduction to the first published feminist scholarship in The Journal of Aesthetics and Art Criticism (Volume 48, Number 4, Fall 1990). Contributors included Hilde Hein, Paul Mattick, Jr., Timothy Gould, Joanne B. Waugh, Joseph Margolis, Mary Devereaux, Noel Carroll, Flo Leibowitz, Anita Silvers, Elizabeth Ann Dobie, Renee Cox, and Ellen Handler Spitz. All essays were subsequently published in an expanded book version entitled, Feminism and Tradition in Aesthetics by Penn State Press (1995).

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 (...) focus on defiant artworks by female artists who sought to reclaim agency and expression of the female body. He revived interest in the neglected topic of beauty while simultaneously advancing radical political goals within the artworld. His call to arms urged art viewers to experience the new--what he often called "art on the edge and over"--wherein, "The experience of art becomes a moral adventure rather than merely an aesthetic interlude" (in Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s, 1996). (shrink)

This essay aims to address a lack of recognition on the part of aestheticians, feminist scholars in the visual arts, as well as Simone de Beauvoir scholars by studying Beauvoir's The Ethics of Ambiguity (1948) for what it has to offer on the topic of art and aesthetics: (1) the important role of the visual arts in society and the political legacy artists can contribute to the world; (2) the traditionally revered philosophical concept of the aesthetic attitude; and (30 the (...) use of the aesthetic attitude to improperly justify controversial works of art. It will also point out that Beauvoir's Ethics is distinct in the history of aesthetics for its atypical (proto-feminist) stand against the popular notion of the aesthetic attitude. Her promotion of political (feminist) art presages the feminist art movement of the 1970s. Ahead of her time, Beauvoir recognized the vital interplay between art and ethics. (shrink)

Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding (...) the other's approach. This essay will consider the legacy of the concept of disinterestedness for contemporary aesthetic theory in light of challenges posed by postmodern skepticism regarding the possibility of disinterestedness, and by the difficulties involved in appreciating political art with a disinterested attitude. My principle example of political art will be drawn from feminist art--the extraordinary and controversial performance art of the French artist, ORLAN. Unlike traditional philosophers, I will advocate that an interested stance toward art is, at times, inevitable and appropriate. I will also argue not only that feminist art--and by extension political art of all kinds--can be experienced disinterestedly, but that it should be. As a position inconsistent with both traditionalists and feminist critics of tradition, my recommendation of both disinterestedness and interestedness affords what I take to be the fullest and fairest experience of a work of art. (shrink)

Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare under (...) his perusal, for example, feminist critiques of traditional definitions of "art," challenges to the elitist makeup of the Artworld, . . . and opposition to his very choice of paradigms: in addition to Duchamp, the "hard cases" include works by John Cage, Andy Warhol, Olivier Messiaen, Jorge Luis Borges, and Gerald Hoffnung. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art. (shrink)

This essay explores the role that the aesthetic-nonaesthetic distinction plays in assessing activist art by women and artists of color. First, I shall review one traditional line of philosophical thought and show how it serves as the foundation for three types of reasons typically given for artworks reputed to lack aesthetic value. I develop two of the three reasons by examining recent writings opposed to the aesthetic value of activist art by well-known art critic Donald Kuspit, pointing out his aberrant (...) use of "obscene." Kuspit's examples of activist art--the work of Jenny Holzer, Barbara Kruger, and Adrian Piper--are presented in light of his charges. I then explore Piper's art in depth in order to outline ways of expanding the notion of aesthetic value beyond its traditional confines. Finally, I suggest moving beyond entrenched, traditional patterns of assessment and invite underrepresented voices to contribute to the emerging discussion of the multiplicity of aesthetic values. (shrink)

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 (...) woman," entails a lifelong struggle against cultural, religious and philosophical norms of inequality and the restrictive ideals of beauty those norms have imposed since the days of Aristotle and Confucius. On Beauvoir's view, one can be both free from oppression and beautiful . . . (shrink)

There has been an important artist in our midst. Her work is about gender, race, and the internal structures of the artworld, and it predated the current popularity of those topics in theoretical circles by three decades.... Piper's volumes serve two functions. Volume I, Selected writings in Meta-Art, 1968-1992, provides an intimate history of the development of her own creative art making, while Volume 2, Selected writings in Art Criticism, 1967-1992, chronicles her more public responses to art-critical writings. Together they (...) form an intense document of a practicing, successful artist who is exceptionally articulate and hence interesting to read. It is no coincidence that her deep commitment to making political art--in which the artist is an agent of social change--functions in tandem with her scholarly pursuits in Kantian ethics. (shrink)

Katy Deepwell calls for a vital and visible "new" feminist criticism in 1997 amidst a pessimistic overview of the state of feminist art and criticism in Britain, Canada, and the U.S. As an update to this review, I note that Deepwell took decisive and effective action on her pessimism and for the past twenty years (as of this writing in July 2017) created an online feminist journal--n.paradoxa: international feminist art journal--that has published over 550 articles by 400 writers and artists (...) from more than 80 countries. After 40 issues, the journal has come to an end. What a success story! (shrink)