Carnal Appetites does not fully work out a single coherent thesis. Rather, it is a preliminary exploration of a set of issues about food, culture and identity. Here is how Probyn describes her project: “The aim of this book is simple but immodest. Through the optic of food and eating, I want to investigate how as individuals we inhabit the present: how we eat into cultures, eat into identities, indeed eat into ourselves. At the same time I am interested (...) in the question of what’s bothering us, what’s eating us now?” (2-3). Chapters explore shame, disgust, caring, sensuality, colonialism, racism, and global capitalism. (shrink)

Meta-ethical attempts to define concepts such as 'goodness', ‘right and wrong’, ‘ought’ and ‘ought not’, have proved largely futile, even over-ambitious. Morality, it is argued, should therefore be directed primarily at the reduction of suffering, principally because the latter is more easily recognisable and accords with an objective view and requirements of the human condition. All traditional and contemporary perspectives are without suitable criteria for evaluating moral dilemmas and without such guidance we face the potent threat of sliding to a (...) destructive moral nihilism. This book presents a possible set of defining characteristics for the foundation of future moral evaluations and engagements, taking into consideration that the historically maligned female gender may be better disposed to ethical leadership. (shrink)

In this introduction to The Journal of Aesthetics and Art Criticism special issue on the aesthetics of creative activism, we canvas influential scholarship of political aesthetics to sculpt a broad typology of six interconnected mechanisms by which art might intervene in the world. We label these: Documentation, Disruption, Recognition, Participation, Imagination, and Beauty. Each has a compelling tradition of theory and application, augmented, extended, and sometimes challenged by the thirteen fresh and provocative contributions in the special issue. Yet, we ask, (...) if both politically minded artists and culturally minded activists are convinced of the power of art to provoke social change, and if we live a world that by almost all measures is now saturated with politically inclined, aesthetically informed practices, interfaces, objects, and texts, why does art not seem to be making a difference? Clearly, we need to think harder about the relationships between art and action, a task the articles assembled here call upon us to take seriously. (shrink)