Korsmeyer, Carolyn. Gender and Aesthetics: An Introduction
2004, London: Psychology Press.
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Added by: Simon FoktPublisher'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.
Korsmeyer, Carolyn. Pleasure: Reflections on aesthetics and feminism
1993, Journal of Aesthetics and Art Criticism 51 (2):199-206.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: For some time my own interests in aesthetics and in feminism appeared to run parallel yet mutually exclusive courses, but it seems to me now that philosophical aesthetics and feminist views of culture have begun to dovetail and to share certain concerns and orientations. Philo sophical aesthetics is not by and large taking note of this, however, and in the first section of this essay I argue that feminist perspectives pro vide a vantage from which the appearance of breakdown in unified theorizing can be seen to have an underlying order and pattern.2 Thus at first I shall emphasize a potential harmony be tween feminist critiques and recent directions in aesthetics. Then in the second section I shall focus on one of the subjects that has all but dropped from view in the reshuffling of the oretic concerns: aesthetic appreciation or plea sure. I argue that this concept is urgently in need of reexamination, a need that is especially evi dent when we consider feminist alternatives to the traditional idea of aesthetic pleasure.
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Korsmeyer, Carolyn. Real Old Things
2016, Journal of Aesthetics 56(3): 219-31.
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Added by: Erich Hatala MatthesSummary: Korsmeyer argues that although genuineness (or authenticity) is not a perceptual property, it is still an aesthetically relevant property for cultural artifacts, an argument that she locates in the relationship between age and the sense of touch. She thus offers a potential explanation for a common ntuition about the nature and value of authenticity in the Western tradition.
Comment: This is the most recent in a series of articles by Korsmeyer on the aesthetics of age and genuineness. It builds on the previous work and focuses on cultural artifacts in particular, but instructors interested in, for instance, the moral significance of authentic artifacts associated with historical injusitces might prefer some of the earlier articles in this series (such as her "Staying in Touch"). Her account also raises questions about how attributions of authenticity might affect aesthetic experience, with potential implications for discussion of authenticity in appropriation debates, though these are not explicitly explored in the article.
Korsmeyer, Carolyn. Taste as Sense and as Sensibility
1997, Philosophical Topics 25 (1):201-230.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: Philosophers occasionally take note of the degree to which their theories make use of metaphoric language. Plato may have been the first to call attention to the heuristic use of sensory images to illuminate the world of abstractions, but twentieth-century thinkers have been particulalry reflective on the subject. Metaphors, remarks Iris Murdoch, are "fundamental forms of our awareness of our condition: metaphors of space, metaphors of movement, metaphors of vision." Philosophical systems, she believes, can often be understood as explorations of centrally important images. Indeed, it seems to her "impossible to discuss certain kinds of concepts without resort to metaphor, since the concepts are themselves deeply metaphorical, and cannot be analyzed into non-metaphorical components without a loss of substance." Mark Johnson agrees and obeserves that recent discoveries in cognitive science provide empirical evidence for claims about metaphor that previously were largely intuitive, namely, that "metaphor is not merely a linguistic phenomenon, but more fundamentallly, a conceptual and experiential process that structures our world.
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Korsmeyer, Carolyn. The Magnetism of Disgust
2010, In: Savoring Disgust: The Foul and the Fair in Aesthetics. New York: Oxford University Press. 113-136.
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Added by: Rossen VentzislavovSummary: Korsmeyer's account of disgust and the role it plays in art appreciation starts with a treatment of what she calls the "paradox of aversion" - the apparent incompatibility between humans' disposition to seek pleasure and their frequent voluntary exposure to unpleasant and even painful art-related experiences. Korsmeyer's provisional solution to the paradox is based on the realization that pleasure is not an emotion but rather "an intense absorption in an object that induces us to continue rather than halt an experience." This opens the possibility that the pleasure we take from a work of art retains a cognitive element such that we gain unique insight from what would, outside of the art context, have given us pain. Korsmeyer speaks of an "aesthetic conversion" whereby disgust and fear are transfigured into vehicles of absorption, and thus become aesthetically pleasurable. Since disgust and its magnetic force are of material interest to performance artists and their critics, Korsmeyer's treatment of the paradox of aversion helps re-contextualize an important art historical issue.
Comment: Interesting to teach following classes on the paradox of horror, and perhaps even alongside (some of) Noel Carroll's writings on horror.
Kraemer, Felicitas. Authenticity Anyone? The Enhancement of Emotions via Neuro-Psychopharmacology
2011, Neuroethics 4(1): 51-64.
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Added by: Simon Fokt, Contributed by: Emma GordonAbstract: This article will examine how the notion of emotional authenticity is intertwined with the notions of naturalness and artificiality in the context of the recent debates about ‘neuro-enhancement- and ‘neuro-psychopharmacology.- In the philosophy of mind, the concept of authenticity plays a key role in the discussion of the emotions. There is a widely held intuition that an artificial means will always lead to an inauthentic result. This article, however, proposes that artificial substances do not necessarily result in inauthentic emotions. The literature provided by the philosophy of mind on this subject usually resorts to thought experiments. On the other hand, the recent literature in applied ethics on ‘enhancement- provides good reasons to include real world examples. Such case studies reveal that some psychotropic drugs such as antidepressants actually cause people to undergo experiences of authenticity, making them feel ‘like themselves- for the first time in their lives. Beginning with these accounts, this article suggests three non-naturalist standards for emotions: the authenticity standard, the rationality standard, and the coherence standard. It argues that the authenticity standard is not always the only valid one, but that the other two ways of assessing emotions are also valid, and that they can even have repercussions on the felt authenticity of emotions. In conclusion, it sketches some of the normative implications if not ethical intricacies that accompany the enhancement of emotions.
Comment: Discusses how the idea of authenticity relates to debates on enhancement. Best read after literature exploring different types of cognitive and emotional enhancement.
Kristeva, Julia. Approaching Abjection
1982, In: Powers of Horror: An Essay on Abjection, Columbia University Press, pp. 1-31.
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Added by: Rossen VentzislavovSummary: The abject - expressed through the grotesque, the gross and the physically challenging - has long been a source of innovation and scandal in the art world. For Kristeva abjection accounts for much of the complexity of the human condition. She understands abjection to encompass various aspects of our humanity that are often seen as conceptually and/or experientially disparate - emotion, embodiment, affect, repression, criminality, hygiene etc. Kristeva's guiding intuition is that the abject helps arbitrate between our perception of ourselves as subject and object. In the liminal space between the two, the "I" is experienced in its full heterogeneity to the frequent detriment of traditional ethical, aesthetic, and scientific considerations. This has direct bearing on performance art, whose history is marked by the deliberate departure from beauty and, concurrently, the constant renegotiation of identity between the extremes of subject and object.
Comment: Best if read together with Sigmund Freud's "The Uncanny"
Kuhse, Helga. Critical Notice: Why Killing Is Not Always Worse – and Is Sometimes Better – Than Letting Die
1998, Cambridge Quarterly of Healthcare Ethics 7 (4):371-374.
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Added by: Clotilde Torregrossa, Contributed by: Simon FoktAbstract: The philosophical debate over the moral difference between killing and letting die has obvious relevance for the contemporary public debate over voluntary euthanasia. Winston Nesbitt claims to have shown that killing someone is, other things being equal, always worse than allowing someone to die. But this conclusion is illegitimate. While Nesbitt is correct when he suggests that killing is sometimes worse than letting die, this is not always the case. In this article, I argue that there are occasions when it is better to kill than to let die
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Kuhse, Helga. The Sanctity-of-Life Doctrine in Medicine: A Critique
1987, Oxford University Press.
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Added by: Clotilde Torregrossa, Contributed by: Simon FoktPublisher's Note: According to the "sanctity-of-life" view, all human lives are equally valuable and inviolable, and it would be wrong to base life-and-death medical decisions on the quality of the patient's life. Examining the ideas and assumptions behind the sanctity-of-life view, Kuhse argues against the traditional view that allowing someone to die is morally different from killing, and shows that quality-of-life judgments are ubiquitous. Refuting the sanctity-of-life view, she provides a sketch of a quality-of-life ethics based on the belief that there is a profound difference between merely being alive and life being in the patient's interest.
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Kuhse, Hoyt, Singer, Peter. Should the Baby Live? The Problem of Handicapped Infants
1985, Oxford University Press.
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Added by: Clotilde Torregrossa, Contributed by: Simon FoktPublisher's Note: Few subjects have generated so many newspaper headlines and such heated controversy as the treatment, or non-treatment, of handicapped newborns. In 1982, the case of Baby Doe, a child born with Down's syndrome, stirred up a national debate in the United States, while in Britain a year earlier, Dr. Leonard Arthur stood trial for his decision to allow a baby with Down's syndrome to die. Government intervention and these recent legal battles accentuate the need for a reassessment of the complex issues involved. This volume--by two authorities on medical ethics--presents a philosophical analysis of the subject based on particular case studies. Addressing the doctrine of the absolute sanctity of life, Singer and Kuhse examine some actual cases where decisions have been reached; consider the criteria for making these decisions; investigate the differences between killing and letting die; compare Western attitudes and practices with those of other cultures; and conclude by proposing a decision-making framework that offers a rational alternative to the polemics and confusion generated by this highly controversial topic.
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Kuki Shūzō. The Structure of Iki
2004, In Hiroshi Nara (ed.). The Structure of Detachment: The Aesthetic Vision of Kuki Sh?z?. Univeristy of Hawai'i Press.
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Added by: Meilin ChinnSummary: One of the most important and creative works in modern Japanese aesthetics. Kuki develops a description of a uniquely Japanese sense of taste (iki) that brings together characteristics of the geisha, samurai, and Buddhist priest.
Comment: Best used by a reader with at least an introductory knowledge of Japanese aesthetics. Could be used comparatively with work on disinterest in western Aesthetics, e.g., Kant.
Kukla, Quill R.. A Nonideal Theory of Sexual Consent
2021, Ethics, 131(2): 270-292.
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Added by: Emma Holmes, David MacDonald, Yichi Zhang, and Samuel Dando-MooreAbstract: Our autonomy can be compromised by limitations in our capacities, or by the power relationships within which we are embedded. If we insist that real consent requires full autonomy, then virtually no sex will turn out to be consensual. I argue that under conditions of compromised autonomy, consent must be socially and interpersonally scaffolded. To understand consent as an ethically crucial but nonideal concept, we need to think about how it is related to other requirements for ethical sex, such as the ability to exit a situation, trust, safety, broader social support, epistemic standing in the community, and more.
Comment (from this Blueprint): Kukla uses this paper to describe a view of consent which is relational. This means that rather than asking questions about what each person individually consented to or not, the question is how the people having sex communicated. If they communicate sufficiently well then the sex is consensual, and if they do not it is not. We can use this to challenge a view of consent which has been implicit in most of the readings so far. This paper is used to discuss blameworthiness and responsibility for wrongful sex, and to ask questions about what the real world obligations of agents are, given their lack of complete information
Kwang-Myung Kim. Korean Aesthetic Consciousness and the Problem of Aesthetic Rationality
1998, Canadian Aesthetics Journal, 2
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Added by: Meilin ChinnAbstract: Aesthetic emotions are reputed to be irrational, but, aesthetic emotions as mental phenomena bear complex relations to rationality. Emotions give us knowledge about the world. The aesthetic consciousness of Korean is the internal roots of the Korean's mentality. The aesthetic consciousness and the mentality are inseparably related to each other. The aesthetic consciousness as the analogy of reason, in the context of A.G. Baumgarten plays a role to extend the logical world. Aesthetic rationality is the common sense or the communicative rationality of it. For the argument of universality we discuss the problem of aesthetic rationality. Since the modern aesthetics, the problem of aesthetic rationality came on the stage of aesthetics. Shamanism as the deep-rooted element of Korean mentality is the most authentic cultural legacy of Koreans. Buddhism, Confucianism, Taoism, and other religious elements influence the unique nature of the Korean character together with shamanism. They play a decisive role in determining the Korean mentality or consciousness. For Koreans, nature is a mirror of the self and a world of meditation which gives life, restoring all things to their proper state. As a peculiar color consciousness, Korean monochrome is characterized by vitality, spontaneity and unconcern for technical perfection. Korean art also tends to be devoid of an artificial movement and this reflects dislike of disturbance, deformation and convention. If we are to consider Korean contemporary art from an international perspective, we must define what it means to be Korean, i.e. our cultural habits and artistic elements hidden in the artist's unconsciousness. In this age of multiculturalism, the new interpretation on tradition makes it possible to merge the Korean art with the world stage. The extension of aesthetic emotion through experimentation shows us the change of aesthetic consciousness as a new possibility of interpretation.
Comment: Kim argues for aesthetic rationality, as a kind of aesthetic consciousness, at the heart of Korean identity. He traces its unique cultural legacy in Korean shamanism, Buddhism, Confucianism, and Daoism in order to account for the characteristic vitality and spontaneity in Korean art. This text is appropriate for an aesthetics course. It does not require a background in Korean philosophy, but at least an introductory knowledge of aesthetics would be beneficial.
Lafont, Christina. Accountability and Global Governance: Challenging the State-Centric Conception of Human Rights
2010, Ethics and Global Politics 3 (3): 193-215.
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Added by: Rochelle DuFordAbstract: In this essay I analyze some conceptual difficulties associated with the demand that global institutions be made more democratically accountable. In the absence of a world state, it may seem inconsistent to insist that global institutions be accountable to all those subject to their decisions while also insisting that the members of these institutions, as representatives of states, simultaneously remain accountable to the citizens of their own countries for the special responsibilities they have towards them. This difficulty seems insurmountable in light of the widespread acceptance of a state-centric conception of human rights, according to which states and only states bear primary responsibility for the protection of their citizens' rights. Against this conception, I argue that in light of the current structures of global governance the monistic ascription of human rights obligations to states is no longer plausible. Under current conditions, states are bound to fail in their ability to protect the human rights of their citizens whenever potential violations either stem from transnational regulations or are perpetrated by non-state actors. In order to show the plausibility of an alternative, pluralist conception of human rights obligations I turn to the current debate among scholars of international law regarding the human rights obligations of non-state actors. I document the various ways in which these obligations could be legally entrenched in global financial institutions such as the WTO, the IMF and the World Bank. These examples indicate feasible methods for strengthening the democratic accountability of these institutions while also respecting the accountability that participating member states owe to their own citizens. I conclude that, once the distinctions between the obligations to respect, protect and fulfill human rights are taken into account, no conceptual difficulty remains in holding states and non-state actors accountable for their respective human rights obligations.
Comment: This journal article would fit well within a course that considers the political and legal aspects of human rights. It would also be useful in a course on global justice or global democracy. It will be of particular interest to advanced undergraduates and graduate students interested in non-state actors and human rights.
Lafont, Christina. Alternative Visions of a New Global Order: What Should Cosmopolitans Hope For?
2008, Ethics and Global Politics (1).
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Added by: Rochelle DuFordAbstract: In this essay, I analyze the cosmopolitan project for a new international order that Habermas has articulated in recent publications. I argue that his presentation of the project oscillates between two models. The first is a very ambitious model for a future international order geared to fulfill the peace and human rights goals of the UN Charter. The second is a minimalist model, in which the obligation to protect human rights by the international community is circumscribed to the negative duty of preventing wars of aggression and massive human rights violations due to armed conflicts such as ethnic cleansing or genocide. According to this model, any more ambitious goals should be left to a global domestic politics, which would have to come about through negotiated compromises among domesticated major powers at the transnational level. I defend the ambitious model by arguing that there is no basis for drawing a normatively significant distinction between massive human rights violations due to armed conflicts and those due to regulations of the global economic order. I conclude that the cosmopolitan goals of the Habermasian project can only be achieved if the principles of transnational justice recognized by the international community are ambitious enough to cover economic justice.
Comment: This article addresses topics that may be covered by a wide variety of courses. Lafont addresses both a Rawlsian and a Habermasian theory of global justice and international law, making this a good text to supplement a course that covers institutional proposals for global justice and fulfilling other cosmopolitan obligations.
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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.