This paper presents the story of an isiXhosa traditional healer, Nomzi Hlathi, as told to the first author. Nomzi was asked about how she came to be an igqirha and the narrative focuses on those aspects of her life story that she understood as relevant to that developmental process. The material was obtained from a series of semi-structured interviews with Nomzi, with some collateral from her cousin, and synthesised into a chronological narrative presented in Nomzi’s own words. The aim of (...) the study was to examine her account of her unfolding experience within three hermeneutic frames. The first is the isiXhosa traditional account of what it is to become an igqirha, a process initiated by intwaso, an illness understood to be a call from the ancestors, and guided by messages from the ancestors in dreams and other symbolic communications. The second is the perspective of Western Clinical Psychology on the cognitive, emotional and behavioural disturbances that characterise intwaso. The third is the perspective of transpersonal psychology on the nature and development of shamanic healing gifts, as understood from observations of such practices in traditional societies across the world. As the narrative of Nomzi’s story is quite long, this paper presents her narrative as well as the methodology which gave rise to it. The interpretative review of the material from each of the three perspectives is presented in a second paper. (shrink)

Prologue: on the weakness of education -- Creativity -- Communication -- Teaching -- Learning -- Emancipation -- Democracy -- Virtuosity -- Epilogue: for a pedagogy of the event -- Appendix: coming into the world, uniqueness, and the beautiful risk of education: an interview with Gert Biesta by Philip Winter.

This paper charts P.A.M. Dirac’s development of his theory of the electron, and its radical picture of empty space as an almost-full plenum. Dirac’s Quantum Electrodynamics famously accomplished more than the unification of special relativity and quantum mechanics. It also accounted for the ‘duplexity phenomena’ of spectral line splitting that we now attribute to electron spin. But the extra mathematical terms that allowed for spin were not alone, and this paper charts Dirac’s struggle to ignore or account for them as (...) a sea of strange, negative-energy, particles with positive ‘holes’. This work was not done in solitude, but rather in exchanges with Dirac’s correspondence network. This social context for Dirac’s work contests his image as a lone genius, and documents a community wrestling with the ontological consequences of their work. Unification, consistency, causality, and community are common factors in explanations in the history of physics. This paper argues on the basis of materials in Dirac’s archive that — in addition — mathematical beauty was an epistemological factor in the development of the electron and hole theory. In fact, if we believe that Dirac’s beautiful mathematics captures something of the world, then there is both an epistemology and an ontology of mathematical beauty. (shrink)

ABSTRACTThis article looks to Attic comedy to explain Socrates’ first argument in Plato's Hippias Major: his refutation of Hippias’ claim that the Beautiful is a beautiful girl. As part of his argument, Socrates introduces three examples of beautiful things—a mare, a lyre and a pot —all of which are used in comedy as metaphorical obscenities for sexualized women. The author contends that an erotic reading of the text accomplishes what no other interpretation can: a unified account of (...) the passage that allows for Socrates’ successful refutation of a proposal in keeping with Hippias’ character. In addition, it explains Socrates’ choice of examples—in particular, the rarely cited χύτρα—and Hippias’ otherwise inexplicable reaction to the χύτρα, as well as the analogous relationship of monkeys and men to pots and girls. (shrink)

People can come to seem to us more beautiful the better we get to know their personalities. Some have taken this to show there is a moral kind of beauty. According to the moral beauty view, moral personality traits realise moral beauty in people. Here I present a problem for the standard articulation of the moral beauty view, namely that it is not a logical truth that people inherit the beauty of their virtues. I call this the ‘inheritance problem’. (...) I present an alternative articulation of the moral beauty view that does not give rise to the problem. On this alternative articulation, the moral beauty view is not as revisionary as it is standardly taken to be. (shrink)

Abstract:Complex aesthetic perception, according to Mendelssohn’s writings between 1755 and 1771, is most alluring if it showcases a breach in the order of perfection. With this, Mendelssohn introduces a shift in our understanding of the artistic act of imitation: Artistic semblance is always lacking, and a painting that does not point to this fact is, in fact, displeasing. This is also the main reason why we enjoy non-beautiful art: in the artistic rendering of an unpleasant ‘object’ we focus on (...) the artistic act itself, on its formal features, and its effects on us as the perceiver. Thus, a representation that evokes the mixed feelings of pleasure, appreciation, and rejection is superior to ‘pure’ beauty, in that it better refers us to higher forms of perfection: the perfection of the perceiving and creative subject (hence, including both artist and audience). It is the nagging, near-painful impression of mixed sentiments that, according to Mendelssohn, guides our self-perfection, the highest aim of all human endeavors. (shrink)

Do the ethical features of an artwork bear on its aesthetic value? This movie endorses misogyny, that song is a civil rights anthem, the clay constituting this statue was extracted with underpaid labor—are facts like these the proper bases for aesthetic evaluation? I argue that this debate has suffered from a false presupposition: that if the answer is “yes” (for at least some such ethical features), such considerations feature as pro tanto contributions to an artwork’s overall aesthetic value, i.e., as (...) merits or flaws which make something have more or less overall aesthetic value. As the case of ethically laden aesthetic evaluation makes clear, however, good aesthetic judgement is irreducibly multi-dimensional, e.g., “the movie has an engaging soundtrack, tasteful camera work, and takes a misogynistically purient perspective on its female lead.” Such a “non-summative” judgement refuses to reduce those various dimensions of aesthetic value to a single aggregate aesthetic evaluation, like “it’s a 6/10” or “it’s a pretty good movie!” I defend both the modest claim that such non-summative evaluations are not mistaken and the extremist claim that summative (i.e., unidimensional) aesthetic evaluation is defective by considering other domains of normative assessment in which summing seems inappropriate, notably including evaluations of people’s character. (shrink)

In this paper, I aim at explaining the difference Kant makes between emotion, the beautiful and the sublime. I begin by explaining what an emotion is, showing that it refers to feelings that are related to desire. In contrast, I show that the feeling of beautiful and the sublime give us an inactive delight, that is not related to an interest in the object. The feeling of beautiful is related to the judgment of taste, and it has (...) a universal validity for everyone. I ask then if we can judge art without any emotion at all. According to Kant, not only one can, but one should, since pure judgment of taste is independent from charm and commotion. At the end, I ask if it is possible to enjoy music without emotion. For a lover of music, perhaps the emotion it provokes is the main reason to like it. I show that this is probably the reason why music is considered to have the last place in the beautiful arts for Kant. (shrink)

The paper will examine the incarnation of Kant’s Critique of the Power of Judgment as a model for political judgment, notably in Hannah Arendt’s interpretation. It will highlight the elements in Kant’s analysis of the judgment of the beautiful that have served to nourish some contemporary notions of political deliberation. The pitfalls and potential promise of transposing an aesthetic appreciation to the political realm will also be considered.In Kant’s view, aesthetic judgment is profoundly subjective, grounded in the feeling of (...) pleasure or displeasure. Taste is a personal matter. It is, however, communicable since it arises from a form of judgment. In judgments of taste, pleasure and displeasure are not pure sensation; they are reflected feelings. The judgment of the beautiful has the distinct particularity, according to Kant, of including others in the very judgment. The perception is never purely solitary; it accounts for others in how the object is viewed. Absent any possibility of defining beauty objectively, this underlying and implicit dimension is what renders the experience of beauty communicable. One might say that the private experience of pleasure through the faculty of judgment is immediately also potentially inter-subjective as well as communicable. It is precisely these specific features, the inter-subjective experience and its communicability, that have inspired contemporary political thought in thinkers such as Arendt, Habermas, and others. Whether the genesis and finality of these features reside in judgments of taste or in cognition remains contested and open to question. (shrink)

In the Critique of the Power of Judgment, Kant claims that “the beautiful is the symbol of the morally good.” In this article I offer an interpretation of this claim. According to Kant’s conception of a symbol, the form of judgment operative in judgments of beauty can also be applied to morality. This parallel application highlights that we are directed at an end which cannot be determined by theoretical cognition. I argue that beauty’s symbolism of morality depends upon the (...) solution to the Antinomy of Taste, and Kant’s conclusion that judgments of taste are grounded in the concept of the supersensible. Such an interpretation renders intelligible Kant’s remark that judgment makes possible a transition from nature to morality. Namely, beauty demonstrates to us nature’s openness to transcendence, and thus is a symbol, a making-sensible of our own transcendence and practical determination of nature. (shrink)

In this paper, I explore what Robert Clewis, in The Origins of Kant’s Aesthetics, suggests is an ‘analogy’ between humour and beauty. I do this by focusing on Kant’s concept of wit (Witz), which is central to both reflective judgement and humour. By exploring the concept of Witz as a distinctive kind of cognitive activity, I believe a case can be made that the origin of Kant’s mature aesthetic theory in the Critique of the Power of Judgement and his discovery (...) of the principle of taste were, in part, a result of Kant’s thinking about Witz. I therefore share Clewis’s puzzlement about why, in the third Critique, humour, arguably the art of Witz, is not considered to be a beautiful art. I conclude by suggesting a possible reason why Kant thought that a judgement of humour is different from a judgement of beauty. (shrink)

Miguel A. De La Torre rejects hope as the ethical basis for a politically effective and truly liberative form of solidarity. Kelly Brown Douglas, on the other hand, articulates a critical retrieval of hope emphasizing the interpretive relationship between the cross, the lynching tree, and the resurrection. Reading De La Torre and Douglas’s works through Natalie Carnes’s theological aesthetics suggests that their respective works can be engaged as “iconoclasms of fidelity,” or the salutary breaking of idolatrous images toward recovering faithful (...) ones. Examining #SprayTheirNames murals that were created in response to state violence against Black people in the United States, I argue that Carnes’s aesthetics framework holds the violence of the crucifixion and promise of resurrection in visual tension, thus decrying violent oppression while offering a beautiful and dangerous memory that catalyzes hope-filled movement in defense of Black lives. (shrink)

This book explores young women's negotiations of female beauty and beauty practices in contemporary China, based on 20 semi-structured interviews, 10 beauty diaries, and 10 follow-up interviews with women aged 18-25. The research takes an interdisciplinary feminist approach to explore several themes related to beauty, including reasons for engaging in beauty practices, daily beauty routines and their understanding of what constitutes female beauty. Focusing on the under-researched everyday beauty practices in Chinese culture, the book addresses gaps in feminist work on (...) beauty, particularly by examining postfeminism in China. It reveals how young Chinese women use postfeminist discourse of choice and pleasure to explain their beauty practices, while also negotiating inner and outer beauty within a Chinese social and political context. This study highlights how local values and postfeminism shape attitudes toward beauty. This book also foregrounds the issues of cultural specificity within beauty culture studies. Combining rich empirical data with feminist analysis, this work appeals to students and scholars of sociology, women's and gender studies, feminist theory, media and cultural studies, and Chinese and East Asian studies. (shrink)

This volume makes available for the first time in English the most important of Hans-Georg Gadamer's extensive writings on art and literature. The principal text included is 'The Relevance of the Beautiful', Gadamer's most sustained treatment of philosophical aesthetics. The eleven other essays focus particularly on the challenge issued by modern painting and literature to our customary ideas of art, and use that challenge to revitalize our understanding of it. Gadamer demonstrates the continuing importance of such concepts as imitation, (...) truth, symbol, and play for our appreciation of contemporary art, and thereby establishes its continuity with the Western tradition. The essays here are not technical and are readily accessible to the beginning student and the general reader. The collection as a whole serves to illustrate the practice of hermeneutics and to introduce Gadamer's thought. Robert Bernasconi provides an introduction clarifying the central aims of the essays and their relations to Gadamer's major work, Truth and Method, and to the philosophy of art since Kant. A bibliography of Gadamer's writings available in English is also included. (shrink)

Published in 2010, 5 years after the infamous ban on the dance bars of Bombay, Beautiful Thing: Inside the Secret World of Bombay’s Dance Bars is journalist Sonia Faleiro’s second work of creative nonfiction. In 2005, her reports about bar dancers were deemed unworthy of publication. However, Faleiro continued her research for 5 more years and published her eye-witness account of the lives and longings of these young girls living precariously in the metropolis. Through the story of Leela, her (...) mother Apsara, and her friend Priya, Faleiro describes what it means to thrive as a bar dancer and survive after the ban. For an individual to be rendered a thing is an existential experience. And, for that thing to possess beauty, which is relentlessly consumed by the male gaze, relegates it neatly into the culture of commodity fetishism. Leela’s story stands for the stories of many others, who embrace the evening for the thrills and frills it entails, knowing all too well that the following day would glare at them through the chinks of their cobweb-ridden windows and into their damp one-room abodes. (shrink)

The following article outlines spiritual formation as it occurs at His Mansion Ministries, a communal ministry centered on Jesus Christ that focuses on helping men and women struggling with life-controlling behaviors and attitudes. Spiritual formation is argued to be a beautiful movement from self to other, a movement that is rooted in a conversion of the self to God. This movement is displayed in the community of His Mansion and the relationships therein. This spiritual movement is also seen in (...) the work and learning that is accomplished at His Mansion. The experience of relationships, work, and learning in the world is typically oriented around the self. At His Mansion Ministries, we believe that spiritual formation happens as a person, in submission to God and his love, moving from being oriented around the self to being aware of and acting for the good of others. (shrink)

Resumen El siguiente artículo propone una interpretación del Hipias Mayor de Platón. A partir del análisis del contexto dramático, de los interlocutores y de la ejecución del diálogo, se destaca el problema de lo bello en sus implicancias ontológicas y éticas. El repetido esfuerzo por determinar lo bello no sólo responde a un problema filosófico fundamental, sino a una intención terapéutica por parte de Sócrates. El desdoblamiento de Sócrates resultará en el fondo ser un recurso por el cual sea posible (...) superar el olvido de la ignorancia que el interlocutor de Sócrates padece.The following paper proposes an interpretation of Plato’s Hippias Major. From the analysis of the dramatic context, the interlocutors and the execution of the dialogue, it highlights the problem of beauty in its ontological and ethical implications. The repeated effort to determine the beautiful not only responds to a fundamental philosophical problem, but to a therapeutic intention by Socrates. The debated splitting of Socrates will be ultimately a resource by which it is possible to overcome the oblivion of the ignorance that the interlocutor of Socrates suffers. (shrink)

In the ultimate meeting of the sublime with the ridiculous" (London Evening Standard) My Beautiful Despair blends the existential philosophy of Søren Kierkegaard with the superficial musings of Kim Kardashian West, based on the popular Twitter feed @KimKierkegaard. The love child of Søren Kierkegaard and Kim Kardashian, the @KimKierkegaard Twitter account has been admired, praised, and adored in The New Yorker, The Washington Post, The New York Times, Financial Times, The Economist, New York, Buzzfeed, and more, and has amassed (...) nearly a quarter of a million Twitter followers, including J.K. Rowling and Anna Kendrick. A mash-up of Kim's tweets and observations with Kierkegaard's philosophy, Kim Kierkegaardashian shares their musings on fashion, beauty, brunch, and the relentless waves of existential dread that wash over us day after day. Now in a humorous, illustrated gift book, perfectly suited for our existential times, Kierkegaardashian's philosophical insights are juxtaposed for the first time with Dash Shaw's brilliant black-and-white illustrations. A sample of the revelations included in My Beautiful Despair include: - I have majorly fallen off my workout-eating plan! AND it's summer. But to despair over sin is to sink deeper into it. - Obsessed with protecting your skin, lips, hair & face from the sun? Close the cover of the coffin tight, really tight, and be at peace. - I like my men like I like my coffee: a momentary comfort in the midst of all my suffering. - What is the operation by which a self relates itself to its own self, transparently? Selfie. - What if everything in life were a misunderstanding, what if laughter were really tears? Scared LOL!! - Glamour, menswear, top hat. (shrink)

The most lucid and penetrating survey of classical Indian philosophy in the Tibetan language. Beautiful Adornment of Mount Meru by Changkya Rolpai Dorje (1717-86) is a work of doxography, presenting the distinctive philosophical tenets of the Indian Buddhist and non-Buddhist schools in a systematic manner that ascends through increasingly more subtle views. It is a Tibetan corollary to contemporary histories of philosophy. The "Mount Meru" of the title is the Buddha's teachings, and Changkya's work excels in particular in its (...) treatment of the two Mahayana Buddhist schools, the Yogacara (here called the Vijñaptimatra) and the Madhyamaka. Unlike Jamyang Shepa's (1648-1722) much longer Great Exposition of Tenets, which was one of the key sources and inspirations for Changkya, Beautiful Adornment is often praised for the clarity of its prose and its economical use of citations from Indian texts. At the same time, like Jamyang Shepa's work, Changkya's text is not simply a catalog of assertions; it skillfully examines core philosophical issues, including a number of intriguing ancillary discussions. Also like Jamyang Shepa's text, Changkya's is very much a Geluk work, drawing heavily on the works of Tsongkhapa and his disciples. The manageable size of Beautiful Adornment and, more importantly, its lucid literary style, made this work the classic source for the study of Indian thought, used by students the across Tibetan cultural sphere. In contemporary academic circles, it has also been a central source for studying the Tibetan interpretation of the classical Indian philosophical systems. (shrink)

From the New York Times bestselling author of Eating the Sun and Lost in Translation, a gorgeously illustrated love letter to everything that is beautiful, and a manifesto for those who are struggling to remember or recognize what beauty is. People are increasingly baffled as to what they can call beautiful, what they should call beautiful, and whether or not they are able to apply beautiful to themselves or to the things around them. Our outdated yet (...) hugely pervasive modern notions of beauty provide one of the greatest sadnesses of all-an intensely human emptiness that we are mistakenly trying to fill with objects and hollow promises. To be able to find our way back to beauty is a deceptively urgent task in the world today. Everyone deserves revelations, the kind that are daily, hugely personal, and very often ephemeral. We are surrounded by beauty-beauty that isn't something we can buy: spiderwebs only seen in the sunlight, the greenish glow of a fox's eyes watching in the dark, or the comforting screech of the subway that takes you to your many futures. Part meditation, part self-help guide, and part interactive journal, Everything, Beautiful explores what beauty is, why it matters, and how we can find it in our everyday lives. Filled with thoughtful, intimate, and brilliant insights, inspirational quotes, breathtaking illustrations, and space for readers to write, draw, and reflect on their own ideas of beauty, Everything, Beautiful is for anyone who feels they cannot point to beauty any longer, are struggling to see it, or feel that it has left them behind. (shrink)

A well-known term in eighteenth-century literature and philosophy, the “beautiful soul” (die schöne Seele) has resurfaced in recent years. Deleuze refers to the beautiful soul’s “religiosity” and argues that aggressive “selection” is necessary as its antidote. However, in volatile contexts of social destabilization, such selection risks recoiling into reactionary violence. After first developing in more detail the beautiful soul’s background as a discursive figure, I argue that understanding Deleuze’s selection within a context of spiritual experience is necessary (...) to mitigate this worry. Exploration of this experience is pursued through juxtaposition of Deleuze’s thought with Nishida Kitarō’s investigation of the ontological structure of religious consciousness. The comparative resonances I develop suggest an ontological objectivity to the problems and structuring of the logos of religious consciousness and show how a more explicitly spiritual rendering of “selection,” developed through the Deleuze/Nishida encounter, intervenes into the broader beautiful soul problematic. (shrink)

What is the nature of the concept beauty? Does it differ fundamentally from nearby concepts such as prettiness? It is argued here that beauty, but not prettiness, is a dual-character concept. Across a number of contexts, it is proposed that beauty has descriptive senses that refer to, inter alia, having intrinsically pleasing appearances, and a normative sense associated with deeply held values. This account is supported across two, pre-registered, studies (N=500) and by drawing on analysis of corpus data. It is (...) suggested that this can help to explain why beauty, unlike prettiness, is thought to be deep in both the sense of being important and in the sense of being less closely tied to sensory surfaces. (shrink)

This article starts an engagement on the aesthetics of experiments and offers an account for analysing how aesthetics features in the design, evaluation and reception of experiments. I identify two dimensions of aesthetic evaluation of experiments: design and significance. When it comes to design, a number of qualities, such as simplicity, economy and aptness, are analysed and illustrated with the famous Meselson-Stahl experiment. Beautiful experiments are also regarded to make significant discoveries, but I argue against a narrow construal of (...) experimental aims. By drawing on the plurality of goals experimenters have and diversity of aesthetic responses, I argue that experiments are aesthetically appreciated both when they discover and when they produce disruptive results. (shrink)

Panos Paris suggests that beauty has a privileged place among aesthetic concepts and properties. In this paper, I argue that Kant’s insights can help us further develop and defend this view. On the proposed Kantian view, a capacity to make judgments of beauty is presupposed by a capacity to make other kinds of aesthetic judgments.

The arithmetical -- Tripartite city, tripartite soul -- The one, the two, and the three -- The arithmetical character of Kallipolis -- Eros -- Intimations of Eros -- The three waves -- Kallipolis v. The republic -- Democracy, psychology, poetry -- Democracy -- Narrative psychology -- Psychological narrative -- Appendix -- The meaning of "dialectical" -- The technical meaning of "dialectic" -- The non-technical of "dialectic" -- Dialectic in The republic.

_The Being of the Beautiful_ collects Plato’s three dialogues, the _Theaetetus_, _Sophist_, and _Statesmen_, in which Socrates formulates his conception of philosophy while preparing for trial. Renowned classicist Seth Benardete’s careful translations clearly illuminate the dramatic and philosophical unity of these dialogues and highlight Plato’s subtle interplay of language and structure. Extensive notes and commentaries, furthermore, underscore the trilogy’s motifs and relationships. “The translations are masterpieces of literalness.... They are honest, accurate, and give the reader a wonderful sense of the (...) Greek.”—Drew A. Hyland, _Review of Metaphysics_. (shrink)

In this paper, I propose a solution to a notorious puzzle that lies at the heart of Kant’s Critique of Judgment. The puzzle arises because Kant asserts two apparently conflicting claims: (1) F→J: A judgment of beauty is aesthetic, i.e., grounded in feeling. (2) J→F: A judgment of beauty could not be based on and must ground the feeling of pleasure in the beautiful. I argue that (1) and (2) are consistent. Kant’s text indicates that he distinguishes two feelings: (...) the feeling of the harmony of the cognitive faculties that is the ground of judgments of beauty (F1 → J), and the feeling of pleasure that is its consequence (J → F2). I develop and defend a view of Kant’s account of the structure of judgments of beauty that incorporates this crucial distinction. Next, I argue that my view resolves another long-standing problem for Kant’s “Deduction” of judgments of beauty: it allows him to claim that the harmony of the faculties is a condition of judgment in general without implying, absurdly, that all judgments are pleasurable. (shrink)

Paul Guyer’s work has drawn much attention to the connection between aesthetics, morality, and teleology in Kant’s Critique of the Power of Judgment. Indeed, Guyer has argued that Kant’s recognition of such a connection in the 1780s provided the major impetus behind Kant’s decision to write a third Critique. This essay aims to refine Guyer’s interpretation of the development of Kant’s views regarding this connection. It does so by focusing on the role of beauty and sublimity in Kant’s early natural (...) philosophy. These considerations demonstrate the need to refine Guyer’s own interpretation in two ways. First, Guyer’s claim that a connection between aesthetics and moral teleology was absent in Kant’s thought prior to the third Critique needs to be moderated. Second, Kant’s early conception of the sublime anticipates more of the third Critique’s account than Guyer recognizes. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss aesthetics in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. (shrink)

This essay focuses on certain norms of Western opera, most notably the long-standing practice of excluding those who possess unattractive voices from leading roles in opera productions. Aging voices are sometimes accepted, but otherwise the institution of Western opera reflects and reinforces the common social bias against people with unattractive voices. Resistance to casting ugly voices in leading opera roles is an overlooked category of the marginalization and silencing of a whole class of voices in the performing arts. I consider (...) arguments that might be given in support of continuing this practice, but I argue that they fail. Current practice merits ethical censure, both for the selection process that is part of the means of production and, especially, for the attitude that the audience is prompted to deploy in engaging with the drama. (shrink)

Beauty standards in Latin America remain predominantly white or white-mestizo, marginalising individuals with more Black or Indigenous features. In this study, we analyse how young Black women in Ecuador navigate both white-mestizo beauty ideals and the definitions of beauty put forward by Black communities themselves. We argue that inhabiting Black bodies involves a constant negotiation with both racialised and racialising beauty standards, exposing women to competing aesthetics tied to both hegemonic and Black beauty ideals. These standards often penalise them – (...) at times for being too Black, and at other times for not being Black enough, depending on the context and who is perceiving and reacting to their bodies. While their bodies and beautification practices may be seen as a capitulation to whitening pressures, they are also sometimes criticised for not conforming to Black beauty ideals within their own communities. These contradictions render the pursuit of beauty fraught and often unattainable. (shrink)

I offer a set of sufficient conditions for beauty, drawing on Parsons and Carlson’s account of ‘functional beauty’. First, I argue that their account is flawed, whilst falling short of...

We make choices about our own appearance and evaluate others' choices – every day. These choices are meaningful for us as individuals and as members of communities. But many features of personal appearance are due to luck, and many cultural beauty standards make some groups and individuals worse off (this is called “lookism”). So, how are we to square these two facets of personal appearance? And how are we to evaluate agency in the context of personal beauty? I identify three (...) ways of responding to these questions: beauty advo- cacy, beauty skepticism, and beauty revisionism. Advocates connect an honorific sense of beauty with personal charac- ter. Skeptics focus on beauty standards, and primarily offer a social critique of beauty standards. Some skeptics suggest embracing other aesthetic ideals – even ugliness. Revision- ists critique beauty standards, but retain an honorific sense of beauty. Each position offers tools to evaluate personal agency as aesthetic agency, whether first-personally or through our appreciation of others' appearance. (shrink)

What kinds of lives emerge in the afterlife of slavery? What is a free life? In Wayward Lives, Beautiful Experiments, Saidiya Hartman narrates a story of social transformation, exploring the ways young black women in the early twentieth century refused the second-class existence assigned to them. She examines alternative forms of intimacy and kinship that rejected the socially imposed standards of respectability. Hartman’s work offers a powerful counter-narrative in which freedom materializes through the enactment of longing and desire in (...) the intimate lives of these women. The protagonists move through New York City and Philadelphia, their blackness usually understood as pathological, criminal, and often subject to surveillance. Hartman, by contrast, contemplates the radical possibilities they embody. New modes of freedom find space in the wayward lives and beautiful experiments of these young black women. (shrink)

This volume explores some of the more important of Hans-Georg Gadamer's extensive writings on art and literature. The principal text included is 'The Relevance of the Beautiful', Gadamer's most sustained treatment of philosophical aesthetics. The eleven other essays focus particularly on the challenge issued by modern painting and literature to our customary ideas of art, and in turn revitalize our understanding of it. Gadamer demonstrates the continuing importance of such concepts as imitation, truth, symbol, and play for our appreciation (...) of contemporary art, and thereby establishes its continuity with the Western tradition. The essays here are not technical and are readily accessible to the beginning student and the general reader. The collection as a whole serves to illustrate the practice of hermeneutics and to introduce Gadamer's thought. Robert Bernasconi provides an introduction clarifying the central aims of the essays and their relations to Gadamer's major work, Truth and Method, and to the philosophy of art since Kant. A bibliography of Gadamer's writings available in English is also included. (shrink)

Appearances of faultless disagreement is arguably a _datum_ with respect to matters of “personal taste.” This chapter aims to illustrate how some _prima facie_ worries against its generalization to aesthetics can be appropriately met. This view has two main components: one on the _metaphysics_ of the _existence_ of cases of faultless disagreement, and one on the _semantics_ of the _expression_ of (existent) faultless disagreement in ordinary conversations. In section 2.1, I present the metaphysical component, to the effect that the truthmakers (...) for the claims in question involve _response-dependent properties_ ultimately grounded in the contrasting attitudes of the disagreeing subjects. In section 2.2, I present the semantic component, to the effect that the relevant expressions trigger a _presupposition of commonality_ that the participants in the conversation are, however, alike in their relevant attitudes. In section 2.3, I explore the prospects for the generalization of this view. (shrink)

The "Introduction" to "Symposium: Beauty Matters" in the Journal of Aesthetics and Art Criticism, Vol. 57, No. 1 (Winter 1999), pages 1-10, is presented here. Abstract: The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. The three essays that follow, authored by Marcia Muelder Eaton, Paul C. Taylor, and Susan (...) Bordo, represent a conjoined effort to move "beauty" beyond the traditional parameters of past contextual theories of art--theories which in their own right (only decades ago and analogous to art criticism itself) opened up rich philosophical terrain beyond the confines of formalism. This introductory essay offer some guidance as to why a symposium on beauty merits attention. Exploring the ways artists and critics have revived the concept of beauty will provide a point of comparison between artworld practices and recent philosophical literature. Most importantly, a new approach to philosophical theorizing will be recommended: one that places questions of gender, race, and sexuality at the forefront of analyzing our experiences of beauty in nature, the human body, and art. Curiously, this new approach is not so much a radical departure from traditional philosophical aesthetics as it is a return to questions basic to the field since the time of Plato: questions about the types of qualities that inhere in objects of beauty, the kinds of experiences they provoke, and the ways we come to value both. (shrink)

In his extended essay "On Grace and Dignity," Friedrich Schiller sets out an important challenge to Kant when he argues that sensibility must play a constitutive role in the ethical life. This paper argues that there is much we can learn from Schiller's "corrective" to Kant's moral theory and Kant's reply to this critique, for what is at stake in their debate are rival conceptions of the proper state of moral health for us as finite rational beings and competing political (...) notions concerning the ideal form of self-governance that we ought to strive to attain. (shrink)

An acclaimed philosopher argues that living life to the fullest requires seeing life through the lens of beauty Say you and your friend often go hiking. One day, they propose that you go skydiving instead. You're wavering, and they deliver a rousing speech. They tell you, Come on, you only live once! You relent. Why? In This Beauty, philosopher Nick Riggle investigates the things we say to inspire each other and ourselves: seize the day, treat yourself, you only live once. (...) Riggle calls them existential imperatives, and they present a conundrum. They are at best vague, at worst stupid. And yet these exhortations can't help but be profound. Drawing on insights from aesthetics and from his experiences as a professional skater, academic, and new father, Riggle argues that these phrases shock us out of our routines and key us into the beauty of life. Insightful and deeply humane, This Beauty offers a personal and searching inquiry into the mystery of life's beauty. (shrink)

A crux of Plato’s Symposium is how beauty relates to the good. Diotima distinguishes beauty from the good, I show, to explain how erotic pursuits are characteristically ambivalent and opaque. Human beings pursue beauty without knowing why or thinking it good; yet they are rational, if aiming at happiness. Central to this reconstruction is a passage widely taken to show that beauty either coincides with the good or demands disinterested admiration. It shows rather that what one loves as beautiful (...) does not appear good, a proposal with ramifications for ethical psychology. (shrink)