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Added by: Simon Fokt
Content: Patridge discusses and rejects some of the main arguments for the exclusivist thesis that no pornography can be art: Levinson’s, Mag Uidhir’s, and one based on Rea’s definition of pornography. In doing so, she offers a useful overview of some other arguments already used against those authors. This leads her to conclude that at least some pornography can be art. A normative question follows: should we treat pornography as art? Given the high cultural status of art, and the often unethical nature of pornography, doing so might lead us to promoting unethical attitudes. She finds such treatment too unselective: at least some pornography isn’t morally problematic (and some of it can actually be morally laudable), while much of art, including erotic art, definitely is. But consumption of pornography cannot be taken out of our paternalistic and sexist cultural context. As most pornography is inegalitarian and expresses (and possibly promotes) harmful attitudes towards women, enjoying it constitutes a moral flaw. This is true even if the consumer is never inspired to actually harm women – in those cases enjoyment of pornography constitutes moral obliviousness, a ‘failure of sensitivity and solidarity with the victims of such imagery’ (54) similar to taking enjoyment in racist jokes.van Brabant, Petra, Prinz, Jesse. Why Do Porn Films Suck?2012, in Art and Pornography: Philosophical Essays, ed. by Hans Maes and Jerrold Levinson (Oxford: Oxford University Press).-
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Content: The authors present ‘the paradox of porn’: pornography seems to score very highly on various evaluative criteria which make art good (e.g. ability to elicit strong emotions), and has features similar to great art (e.g. ‘Brechtian’ acting, idealisation of the human body), yet is rarely consider art. They proceed to discuss some arguments for the exclusivist thesis, suggesting that they ‘reflect a limited knowledge of or experience with pornography’ (168). A review of various types of non-mainstream porn leads them to claim that the division between pornography and art is a false dichotomy. Section 3 revisits the paradox, offering an analysis of various reasons which could lead to so little porn being (considered) art. After rejecting most of the common arguments, the authors suggest that a great majority of porn is not art for purely contingent reasons: very few pornographers even try to pursue that possibility. But pornography has the potential to be great art, and section 4 explores the ways in which it could.Comment: This text is a fairly easy and a very entertaining read, and is presented in a form of an intriguing and unexpected paradox. This makes it an excellent introductory reading which can really interest students in the subject. It also paints a very varied and diverse picture of pornography, reaching far beyond the mainstream images most often discussed in the literature, and likely best known to students.
Dissanayake, Ellen. Doing Without the Ideology of Art2011, New Literary History 42: 71–79.-
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Abstract: My invited comment on Steven Connor’s essay, “Doing Without Art,” proposes that a fuller understanding of the implications of my notion of “making special”—referred to by Connor in his essay as somewhat relevant to his own position—would expand his view of the human art impulse and allay some of his disaffections. Rather than contributing to aesthetic theory, the ideology of art, my work proposes an ethology of art: it suggests why members of the human species, in all times and places, made and otherwise engaged with the arts (plural). An ethology of art requires a new way of regarding its subject, not philosophically as an entity or essential quality but as a behavior, something that people everywhere “do.” What characterizes all instances of “doing with art,” from prehistory to the present, is making something (a rock surface, face or body, implement, sound, space, place, movement, utterance) special. A summary of the development and ramifications of the concept of “making special”—called “artifying” in my most recent work—answers Connor’s three questions and suggests that placing our modern ideology or ideologies of art in the wider and deeper context of artification enables an understanding of the arts as intrinsic and even necessary to human lives everywhere.Comment: Dissenayake makes her points clear and brief, and uses the opportunity to present the main elements of her evolutionary theory. This makes this paper not only an interesting voice in the scepticism about the definition of art debate, but also an excellent introduction to her wider work. The main question worth discussing in class is: should we replace definitions of art with an ethology of art? It might also be worth asking whether Dissenayake is right to claim that even the assumption that a theory of art is needed at all is elitist.
Korsmeyer, Carolyn. Gender and Aesthetics: An Introduction2004, London: Psychology Press.-
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Publisher's note: Feminist approaches to art are extremely influential and widely studied across a variety of disciplines, including art theory, cultural and visual studies, and philosophy. Gender and Aesthetics is an introduction to the major theories and thinkers within art and aesthetics from a philosophical perspective, carefully introducing and examining the role that gender plays in forming ideas about art. It is ideal for anyone coming to the topic for the first time. Organized thematically, the book introduces in clear language the most important topics within feminist aesthetics:- Why were there so few women painters?
- Art, pleasure and beauty
- Music, literature and painting
- The role of gender in taste and food
- What is art and who is an artist?
- Disgust and the sublime.
Comment: Chapter 5 is particularly useful in teaching on art theories. It offers an interesting review of art theories from a feminist perspective, noting the gendered character of existing definitions. It may be good to teach it alongside Brand's ‘Glaring Omissions in Traditional Theories of Art’ to best bring out these issues. Secondly, it inspires the question: given the problematic exclusionary character of art history and theory, would it not be better if we did not have a definition of art which we can use to exclude? The value of the feminist art discussed in the chapter lies largely in its ability to expose the biases present in the artworld and expressed in theories of art. Thus the fact that artists tend to create works which challenge existing theories might be in fact desirable.
Ruether, Rosemary R.. Symbolic and Social Connections of the Oppression of Women and the Domination of Nature1999, in Adams, C. J. (eds), Ecofeminism and the sacred, New York: Continuum.-
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Added by: Simon FoktAbstract:
Comment: This text offers an introduction to ecofeminism. It discusses the history of associating maleness with culture and femaleness with nature and identifies some of the issues which led to the current ecological crisis. The text has the potential to challenge received views and inspire a lively discussion, and as such it is best used as an introductory text in classes on environmental ethics and on feminist ethics.
Steinbock, Bonnie. The Intentional Termination of Life1979, In Steinbock, Bonnie and Alastair Norcross (eds.), Killing and Letting Die. Fordham University Press.-
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Added by: Carl Fox
Content: Steinbock argues that cessation of treatment can be for reasons other than the ending of life, specifically respecting a patient's right to refuse treatment and when treatment would not be a net benefit. She concludes that the AMA can consistently reject intentional killing and hold that it is sometimes permissible to withdraw treatment without relying on the controversial passive/active euthanasia distinction.Comment: Very useful chapter for discussion in a module about ethical issues at the end of life.
Purdy, Laura. Are Pregnant Women Fetal Containers?1990, Bioethics 4(4): 273–291.-
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Added by: Carl Fox
Content: Purdy offers a strong argument against overriding the decisions of pregnant women and tries to reconcile the significance of the dependence of the fetus on the mother with the mother's right to control her own body.Comment: Very useful as introductory or further reading on reproductive rights and/or abortion.
Haslanger, Sally. Gender and Race: (What) Are They? (What) Do We Want Them To Be?2000, Nous 34(1): 31-55.-
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Added by: Carl Fox
Abstract: This paper proposes social constructionist accounts of gender and race. The focus of the inquiry--inquiry aiming to provide resources for feminist and antiracist projects--are the social positions of those marked for privilege or subordination by observed or imagined features assumed to be relevant to reproductive function, or geographical origins. I develop these ideas and propose that other gendered and racialized phenomena are usefully demarcated and explained by reference to these social positions. In doing so, I address the concern that attempts to define race or gender are misguided because they either assume a false commonality or marginalize some members of the group in question.Comment: Seminal reading for modules on gender or race.
Seavilleklein, Victoria. Challenging the Rhetoric of Choice in Prenatal Screening2009, Bioethics 23(1): 68-77.-
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Added by: Simon Fokt
Abstract: Prenatal screening, consisting of maternal serum screening and nuchal translucency screening, is on the verge of expansion, both by being offered to more pregnant women and by screening for more conditions. The Society of Obstetricians and Gynaecologists of Canada and the American College of Obstetricians and Gynecologists have each recently recommended that screening be extended to all pregnant women regardless of age, disease history, or risk status. This screening is commonly justified by appeal to the value of autonomy, or women's choice. In this paper, I critically examine the value of autonomy in the context of prenatal screening to determine whether it justifies the routine offer of screening and the expansion of screening services. I argue that in the vast majority of cases the option of prenatal screening does not promote or protect women's autonomy. Both a narrow conception of choice as informed consent and a broad conception of choice as relational reveal difficulties in achieving adequate standards of free informed choice. While there are reasons to worry that women's autonomy is not being protected or promoted within the limited scope of current practice, we should hesitate before normalizing it as part of standard prenatal care for all.Comment: The text introduces the notion of relational autonomy and argues that an increase in pre-natal screening can in fact act so as to restrict the autonomy of pregnant women. It is best used in teaching applied ethics modules on procreation and autonomy, and as a further reading offering a critique of approaches which do not take into account contextual features of particular situations in their moral assessment.
Bordo, Susan. Anorexia Nervosa: Psychopathology as the Crystallization of Culture1993, In her Unbearable Weight: Feminism, Western Culture, and the Body. Berkeley: University of California Press.-
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Added by: Simon Fokt
Diversifying Syllabi: Bordo claims that the recent increase in women with Anorexia is a symptom of the “central ills” of our culture. Bordo discusses three sources of this “cultural illness” which leads to anorexia: the dualist axis, the control axis, and the gender/power axis. She spends the bulk of the paper discussing each “axis” or problematic component of society which is reflected back to us in the increasing diagnosis of anorexia. These “psychopathogolgies” are expressions of the culture, she claims.Comment: This text is most readily applicable in teaching feminist theory and social philosophy. However, it is also very useful in at least three other contexts: (1) as a critical approach to mind-body dualism, especially when teaching on Descartes or Plato's Phaedo; (2) in teaching on the ethics of mental illness and the anti-psychiatry movement, as an example of socially constructed disorders; and (3) more broadly in teaching on personal and collective moral responsibility.
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Patridge, Stephanie. Exclusivism and Evaluation: Art, Erotica and Pornography
2013, in Pornographic Art and the Aesthetics of Pornography, ed. by Hans Maes (London: Palgrave Macmillan).
Comment: This text offers a good and brief overview of the main points in the art and pornography debate. This makes it a good ‘one-stop-shop’ for classes which do not wish to look at it more closely. Alternatively, it can be used as an introduction to the topic and followed by some more specific papers. It also engages the normative question and offers a discussion of moral issues related to pornography. This will likely prove to be a very interesting point for class discussions.