Search

The article explores the concept of aesthetic disobedience proposed by philosopher Jonathan Neufeld based on the definition of civil disobedience presented by philosopher John Rawls in his book "A Theory of Justice." Topics discussed include the involvement of both artists and audience members in acts of aesthetic disobedience, the violation of relevant artistic norms observed in the 1989 protest artwork "Do Women Have to Be Naked to Get Into the Met. Museum?," by anonymous artist collective Guerilla Girls, and the activism demonstrated by performers in Peter Handke's play "Publikumbeschimpfung (Offending the Audience)."

This essay discusses the similarities and the differences between aesthetic appreciation of nature and of art, and canvasses attempts to delineate the scope of appropriate aesthetic appreciation of nature. It begins with a presentation of Kendall Walton's theory of appropriate art appreciation and explores its implications, specifically his implication that nature appreciation is category-relative and thus aesthetic judgments of nature are neither true nor false. Allen Carlson's natural environment model. Is then discussed. Carlson argues against relativism in nature appreciation by pointing out that there are correct scientific categories of nature. With his arousal model of nature appreciation Noel Carroll argues that Carlson's model fails to countenance appropriate cases of nature appreciation that occur when one is emotionally moved by nature. In response to potential allegations that his model endorses subjectivity, Carroll explains that some emotional responses to nature are appropriate, while others are not. In the process of considering the debate between Carlson and Carroll, specific limitations of these models are discussed. The author agrees with Carroll that Carlson's model, which makes scientific knowledge a necessary condition for appropriate nature appreciation, excludes legitimate instances of aesthetic appreciation. The essay concludes with a discussion of the need to expand the scope of what is considered legitimate nature appreciation beyond that which is encompassed by Carroll's model. The sort of model needed, it is suggested, is one that is best characterized as both revisionist and extensionist.

Environmentalists can make individuals more coo-friendly by dispelling many of the myths and misconceptions about the natural world. By learning what in nature is and is not dangerous, and in what contexts the danger is real, individuals can come to aesthetically appreciate seemingly unappreciable nature. Since aesthetic attraction can be an extremely valuable tool fox-environmentalists, with potential beyond that of scientific education, the quest for an eco-friendly is neither unnecessary nor redundant. Rather, an eco-friendly aesthetic ought to be pursued in conjunction with other efforts to protect nature.

Saam Trivedi's argument about intentionalism alleges intentionalists must choose between indeterminacy and redundancy. This position fails to challenge the prescriptive legitimacy of actual intentionalism, which remains as a reasonable means to understand works of art.

To authenticate to the full-text of this article, please visit this link: http://dx.doi.org/10.1111/j.1540-6245.2009.01392_7.x Byline: SHEILA LINTOTT (1) Author Affiliation: (1)Department of PhilosophyBucknell University

Hannah Gadsby: Nanette (2018) is a brilliant and masterful work of comedy in which Gadsby announces she is quitting comedy. In this article, I draw on classical and contemporary humor theory to explore the comedic content of Nanette and critique Gadsby's reasons for quitting. Although I largely agree with Gadsby's concerns about comedy, I argue that the very show in which she presents them, Nanette, stands as evidence against their universal truth. Gadsby argues that comedy is no longer conducive to her health for at least three related reasons. First, the self‐deprecatory comedy out of which she has built her career is a symptom of her humiliation which she is no longer willing or able to showcase for the pleasure of others. I argue that while self‐deprecatory humor can, of course, be a sign of humiliation, it needn't be. Comedians, including those on the margins, can and do effectively employ self‐deprecation without humiliation or denigration of self, and one way comedians do this is as a ruse to expose the ignorance of the audience or of comic targets not present. Second, Gadsby analyzes jokes and argues their two‐part structure, set‐up and punch line, is inadequate for telling the whole story of the trauma she has endured as a lesbian who, as she puts it, presents as "gender not‐normal." However, I maintain that, although jokes may not be, stand‐up sets are often complete wholes with beginnings, middles, and ends. In fact, Nannette is a prime example of such complex comedy. Finally, she argues that the comedian's job is to create and dispel tension, but she is no longer willing to take responsibility for or do anything to dispel the tension created when she speaks of her past trauma. But I discuss how Gadsby, as a true master of her craft, is able to create a highly successful and very funny comedy show in which she completely controls the tension while explicitly choosing to leave significant portions of it with the audience. In fact, super stand‐up comedy can introduce tension it neglects to remove without sacrificing the humor. Indeed, Hannah Gadsby's Nanette is a prime example of comedy that powerfully does precisely this. [ABSTRACT FROM AUTHOR]

An introduction to a series of articles about ethical and aesthetic issues related to stand-up comedy is presented.

The article discusses the author's aim of disclosing and examining non-intrinsic values of friendship which is useful in some ways including providing pleasure, self-knowledge and breadth of experience. Topics cited include ties between the value of friendship with bias and they ways biases enter friendships, the implicit association of men with the occupation of engineering and women with elementary school teacher and errors in the beliefs that human behavior is general intentional.

Argues that one of the most intense ways women are encourage to enjoy sublime experiences is via attempts to control their bodies through excessive dieting. Evidence that support the claim that the societal-cultural contributions to the problem of eating disorders exceed the perpetuation of a certain beauty ideal.