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Added by: Rebecca BuxtonAbstract:
In “Sex, Lies, and Bigotry: The Canon of Philosophy” I explore several questions: What does it mean for our understanding of the history of philosophy that women philosophers have been left out and are now being retrieved? What kind of a methodology of the history of philosophy does the recovery of women philosophers imply? Whether and how excluded women philosophers have been included in philosophy? Whether and how feminist philosophy and the history of women philosophers are related? I also explore the questions “Are there any themes or arguments that are common to many women philosophers?” and “Does inclusion of women in the canon require a reconfiguration of philosophical inquiry?” I argue that it is either ineptness or simple bigotry that led most historians of philosophy to intentionally omit women’s contributions from their histories and that such failure replicated itself in the university curricula of recent centuries and can be remedied by suspending for the next two centuries the teaching of men’s contributions to the discipline and teaching works by women only. As an alternative to this drastic and undoubtedly unpopular solution, I propose expanding the length and number of courses in the philosophy curriculum to include discussion of women’s contributions.Comment (from this Blueprint): In this scathing chapter, Waithe argues that people who have left women out of the history of philosophy are either inempt or bigoted. Rather than being an accidental fact of women's general exclusion, she argues that women philosophers have been ignored intentionally.
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Added by: Franci Mangraviti
From the Introduction: "Anne Waters shows how nondiscrete nonbinary ontologies of being operate as background framework to some of America’s Indigenous languages. This background logic explains
why and how gender, for example, can be understood as a non-essentialized concept in
some Indigenous languages of the Americas. [...] The Indigenous understanding that all things interpenetrate and are relationally interdependent embraces a manifold of complexity, resembling a world of multifariously associated connections and intimate fusions Such a nondiscretely aggregate ontology ought not to be expected to easily give way to a metaphysics of a sharply defined discretely organized binary ontology. From an Indigenous ontology, some multigendered identities may be more kaleidoscopic and protean concepts than Euro-American culture has yet to imagine."Comment: available in this Blueprint
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Added by: Hans MaesSummary: The gender of both artist and sitter needs to be taken into account when considering the history of portraiture. Explores how and why women were often portrayed in certain roles (as goddesses, historical or religious figures, allegorical embodiments of abstract notions). Discusses why many women artists before the 20th century were portraitists and considers a few examples. Also highlights changing notions of masculinity in portraiture.Comment: Useful in aesthetics classes discussing portraiture, depiction and representation, as well as philosophy of gender classes discussing representations of women.
Artworks to use with this text:
Lotte Laserstein, Self-Portrait with Cat (1928) vs Otto Dix, Portrait of the Journalist Sylvia von Harden (1926)
Both portraits were painted in 1920s Germany by artists linked to the New Objectivity art movement. Still, there is a notable difference between the 'objective' view of the male artist and the subjective self-image of the woman artist.
Elizabeth Siddal, Self-Portrait (1854)
There's a marked contrast between the unhappiness and fatigue visible in this self-portrait and the beauty and eroticism in Dante Gabriel Rossetti's Beata Beatrix (c.1862) in which he transfers the ideal qualities of Dante's Beatrice into the real portrait of Siddal.
Artemisia Gentileschi, Self-Portrait as "La Pittura" (c. 1630)
It could be said that the artist is complicit in the tendency of portraitists to generalize their women subjects as she embodied herself as the allegory of Painting. Nevertheless, Artemisia does not show herself in an idealized way and by self-consciously manipulating a set of conventions makes a unique contribution to the corpus of self-portraiture. Useful in aesthetics classes discussing portraiture, depiction and representation, as well as philosophy of gender classes discussing representations of women.
Artworks to use with this text:
Lotte Laserstein, Self-Portrait with Cat (1928) vs Otto Dix, Portrait of the Journalist Sylvia von Harden (1926)
Both portraits were painted in 1920s Germany by artists linked to the New Objectivity art movement. Still, there is a notable difference between the 'objective' view of the male artist and the subjective self-image of the woman artist.
Elizabeth Siddal, Self-Portrait (1854)
There's a marked contrast between the unhappiness and fatigue visible in this self-portrait and the beauty and eroticism in Dante Gabriel Rossetti's Beata Beatrix (c.1862) in which he transfers the ideal qualities of Dante's Beatrice into the real portrait of Siddal.
Artemisia Gentileschi, Self-Portrait as "La Pittura" (c. 1630)
It could be said that the artist is complicit in the tendency of portraitists to generalize their women subjects as she embodied herself as the allegory of Painting. Nevertheless, Artemisia does not show herself in an idealized way and by self-consciously manipulating a set of conventions makes a unique contribution to the corpus of self-portraiture.
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Added by: Franci Mangraviti and Viviane FairbankAbstract:
I argue that a thoroughgoing naturalized epistemology can easily underestimate the extent to which certain background assumptions will infl uence arguments. Instead, then, I suggest that we can borrow a conceptual tool from neo-Kantian philosophy of science, namely the constitutive a priori. This idea originates in neo-Kantian philosophers who understood, in light of Einsteinian physics, that Kantian views about the a priority of space were untenable. Frameworks that adopt some version of a constitutive a priori take certain propositions to play the role of a priori principles, without granting them the universality or necessity that such principles traditionally hold. I will argue that thinking of certain views or values as having the status of constitutive a priori principles can help us understand what would be required for an epistemic agent to change them, and thus illustrate the extent to which they are resistant to being dislodged by evidence.Comment: available in this Blueprint
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Added by: Harry Lewendon-EvansAbstract:
From the introduction: This paper seeks to begin to fill a gap that thus exists both in existential phenomenology and feminist theory. It traces in a provisional way some of the basic modalities of feminine body comportment, manner of moving, and relation in space. It brings intelligibility and significance to certain observable and rather ordinary ways in which women in our society typically comport themselves and move differently from the ways that men do. In accordance with the existentialist concern with the situatedness of human experience, I make no claim to the universality of this typicality of the bodily comportment of women and the phenonemological description based on it. The account developed here claims only to describe the modalities of feminine bodily existence for women situated in contemporary advanced industrial, urban, and commercial society. Elements of the account developed here may or may not apply to the situation of woman in other societies and other epoch, but it is not the concern of this paper to determine to which, if any, other social circumstances this account applies.
Comment (from this Blueprint): This paper provides a clear and useful introduction to the notionYoung's paper "Throwing Like a Girl" has become a classic text on the embodiment of gender and thus an important touchstone for contemporary discussions on the effects of gender norms. Given an embodied view of the mind, Young's paper can also be said to elucidate not only how we enact gender norms but also how gender permeates our way of cognitively interacting with the world. Thus, this reading compliments the chapters from Butnor & MacKenzie and Rudder Baker, while introducing the reader to two prominent phenomenologists which the feminist philosophy of mind movement draws on: Simone de Beavoir and Maurice Merleau-Ponty. This paper would also nicely compliment Benette Jackson's chapter "Embodiments of Sex and Gender: The Metaphors of Speaking Surfaces" in Maitra and McWeeny's Feminist Philosophy of Mind. of gendered bodily experience. It would be a useful introductory piece for any course that studies the role of the body more generally, such as courses on phenomenology, philosophy of race/gender, or issues in cognitive science.