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Added by: Tomasz Zyglewicz, Shannon Brick, Michael GreerAbstract: In their paper titled Gender and Philosophical Intuition, Wesley Buckwalter & Stephen Stich argue that the intuitions of women and men differ significantly on various types of philosophical questions. Furthermore, men’s intuitions, so the authors, are more in line with traditionally accepted solutions of classical problems. This inherent bias, so the argument, is one of the factors that leads more men than women to pursue degrees and careers in philosophy. These findings have received a considerable amount of attention and the paper is to appear in the second edition of Experiment Philosophy edited by Joshua Knobe & Shaun Nichols, which itself is an influential outlet. Given the exposure of these results, we attempted to replicate three of the classes of questions that Buckwalter & Stich review in their paper and for which they report significant differences. We failed to replicate the results using two different sources for data collection (one being identical to the original procedures). Given our results, we do not believe that the outcomes from Buckwalter & Stich (forthcoming) that we examined are robust. That is, men and women do not seem to differ significantly in their intuitive responses to these philosophical scenarios.Comment (from this Blueprint): Hamid Seyedsayamdost presents the results of the replications of three classes of studies invoked by Buckwalter and Stich in support of the claim that philosophical intuitions vary across gender. Most of the studies fail to replicate the original results. Although the paper is rather technical in focus, working through (some parts of) it may help the readers better understand the methodology of x-phi and assess the credibility of results published in x-phi papers.Song, Sarah. Justice, Gender, and the Politics of Multiculturalism2007, Cambridge University Press.
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Added by: Clotilde Torregrossa, Contributed by: Sarah SongPublisher's Note: Justice, Gender and the Politics of Multiculturalism explores the tensions that arise when culturally diverse democratic states pursue both justice for religious and cultural minorities and justice for women. Sarah Song provides a distinctive argument about the circumstances under which egalitarian justice requires special accommodations for cultural minorities while emphasizing the value of gender equality as an important limit on cultural accommodation. Drawing on detailed case studies of gendered cultural conflicts, including conflicts over the 'cultural defense' in criminal law, aboriginal membership rules and polygamy, Song offers a fresh perspective on multicultural politics by examining the role of intercultural interactions in shaping such conflicts. In particular, she demonstrates the different ways that majority institutions have reinforced gender inequality in minority communities and, in light of this, argues in favour of resolving gendered cultural dilemmas through intercultural democratic dialogue.Comment: The book combines political philosophy with case studies exploring conflicts between gender equality and multiculturalism. It could be used in graduate or undergraduate courses on the topic of gender and multiculturalism, paired with Susan Okin's 'Is Multiculturalism Bad for Women?'West, Shearer. Gender and Portraiture2004, In: Portraiture, Oxford: Oxford University Press, pp. 144-161.
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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.
Young, Iris Marion. Throwing Like a Girl: A Phenomenology of Feminine Body Comportment, Motility and Spatiality1980, Human Studies 3(1), pp. 137 - 156-
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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.Can’t find it?Contribute the texts you think should be here and we’ll add them soon!
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Seyedsayamdost, Hamid. On Gender and Philosophical Intuition: Failure of Replication and Other Negative Results
2015, Philosophical Psychology 28 (5), 642-673
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