Rhetoric is the power of persuasion, or influence, through words. And in many ways, comics exemplify, through their heroes and heroines, the power of rhetoric, of the written and spoken word to convince, persuade, and ultimately move people. Wonder Woman exemplifies wisdom, or sophia, and as an ambassador and an emissary her character not only demonstrates the value of wisdom, but actively disarms threats, promoting peace through discourse. Wonder Woman remains relevant in the twenty‐first century, holding (...) her own against her male counterparts, and arguably embodying a passionate plea of persuasion. More than any other character, beyond brute force, beyond the use of technology and battle tactics where might makes right, even if right is just, Wonder Woman often mobilizes argumentation as her greatest weapon. She is sent to Man's World as an emissary for Amazonian values, for justice and equality, not simply to physically fight. (shrink)

Wonder Woman and her fellow Amazons serve the full Greek pantheon, worshipping Aphrodite and Athena in particular. But Wonder Woman's realm is also home to Roman gods, African and Egyptian gods, and the new gods including Darkseid, Highfather, Orion, and Metron. Wonder Woman speaks to loyalty, integrity, and honor. She speaks to the best in people, as they relate to each other and care for one another. These values can be enough to keep people (...) going, this orientation is what they seek, and this is what they can know, what they understand to be true. Perhaps if they are seeking a god in order to find their place, they might look to Wonder Woman and her Amazonian virtues. They could do worse than submit to the loving authority of Princess Diana, god of war. (shrink)

This chapter looks at how Wonder Woman uses just torture in order to save innocent people. Some people would deny that what Wonder Woman does with her golden lasso is torture. Evidently, when Wonder Woman uses her golden lasso on captured criminals to thwart some potential harm, she is exercising a form of just or righteous torture. The first ticking bomb scenario is in the pilot episode of the 1970s Wonder Woman TV (...) series, which was set during World War II. The second ticking bomb scenario is in Wonder Woman #600. Without the lasso of truth, people need to have their own way of extracting the truth from their enemies, who are always "probable enemies", in order to save lives. Thus, the best solution is the legalization of torture, with its host of torture warrants and professional torturers, modeled, in part, on the fierce and honest Amazonian, Wonder Woman. (shrink)

This chapter focuses on the golden era and proposes an exercise of creativity whereby we imagine Diana, the Amazon, becoming Wonder Woman in order to overthrow Man's World. Through Wonder Woman's story, we can build a feminist epic that depicts women who fight patriarchy. In the novel Lesbian Peoples: Material for a Dictionary, Wittig and Zeig describe the Amazons as the warriors thanks to whom we have been able to enter the Golden Age, an age without (...) patriarchy or sex differences. Diana, by becoming Wonder Woman and by fighting against heteropatriarchal injustice, leads the war toward the destruction of this dualistic division. The connection between Amazons and Guerrilleres, between two generations of fighters against patriarchy, aims to inspire our sorority and union in this fight against heteronormative, oppressive structures that affect us all, especially women and other subjects with alternative sexual and gender identities. (shrink)

Born out of the horror of World War II, Wonder Woman, Earth's first ever female superhero, was created as an antithesis to the bloodcurdling masculinity that characterized the man's world it was back then, in 1941. Wonder Woman was an attempt to reshape the "feminine destiny" articulated by French philosopher and feminist Simone de Beauvoir (1908‐1986). Women were liberated from the shackles of "Man's World" (even if for a brief moment) that prescribed procreation as feminine purpose. (...) Gerard Jones, American author and comic book writer, describes the Wonder Woman comics penned by Marston as packed with bondage, spankings, enslavement, and punishment of both men and women. He says that every single Wonder Woman comic that Marston created depicted bondage and a myriad of other sexual fetishes. Marston fans would argue that Wonder Woman lost the focus that made her a feminist icon during World War II. (shrink)

This chapter is unique for several reasons. First, it brings together two unlikely authors, a PhD ethicist and her 15‐year‐old high‐school daughter, whose diverse interests include thinking about depictions of female characters in graphic novels. Second, it compares two unlikely DC female characters, Wonder Woman (the Amazonian princess heroine who protects innocent citizens from evil) and Harley Quinn (the ever‐evolving anti‐hero who vacillates between being an outright villain to being merely window dressing for her boyfriend, the Joker). The (...) conclusion of the chapter is unlikely, too: neither Wonder Woman nor Harley Quinn can ultimately succeed in their roles as moral hero and immoral anti‐hero when their popularity depends upon them being depicted as sexual objects. The chapter uses Aristotle's ethics to show that it isn't Wonder Woman's virtue that is thwarted, but her phronesis. Harley's antiheroism is similarly in jeopardy, since phronesis helps any person set and meet goals. (shrink)

The history of the Wonder Woman comic book character is full of events and personalities as dramatic as the tales detailed in the text. The origins and development of this iconic female superhero demonstrate how competing ideas of what womanhood meant were reflected in popular culture. In this essay, the focus is on a particular issue of the Wonder Woman comic book, with a story by writer and literary critic Samuel R. Delany in 1972. In this (...) issue Wonder Woman takes on the role of a women’s liberation activist in New York City. This chapter in Wonder Woman’s history is either unknown or dismissed as misguided by many fans past and present, but it provides an interesting insight into how American comic books responded to second-wave feminism and Gloria Steinem’s appropriation of the Wonder Woman image. (shrink)

More than 70 years have passed since the debut of Wonder Woman in All Star Comics. To the wonder of many, Wonder Woman remains one of the most popular comic‐book superheroes of all time. Wonder Woman is a walking, and sometimes flying, paradox of attributions and images. This chapter explores the complexities of Wonder Woman's identity, as she navigates male and female spheres of existence to embody a modern American ideal. The (...) critical feminist task is for women to transcend barriers to freedom so they can begin to forge their identities and enjoy selffulfillment. Wonder Woman challenges established social roles and the assumed facticity of life by creating her identity in the world, an identity born out of sacrifice and pain. Wonder Woman's feminist spirit originates in her ancestry. Despite Wonder Woman's respect for her mother's authority and commitment to women's independence, romantic love prevails. (shrink)

"Using important themes from school character education programs, this picture book features vivid illustrations to teach young readers all about perseverance."--Provided by publisher.

This article approaches the recent Wonder Woman film as a presentation of the tensions traditionally associated with the paradox of democratic foundations. Steeped in classical mythology, Wonder Woman adapts two origin myths from the Athenian polis: the myth of Pandora and the myth of the heroic colonizing demigod. Through its adaptation of these myths I argue that Wonder Woman offers two competing responses to the democratic paradox of founding. One is exceptionalist, where sovereign interventions (...) by extraordinary ‘super-agents’ like Wonder Woman are justified by their unique origins and identities. The second response subverts this narrative, however, offering a tragic depiction of democratic agency. Through the relationships formed with Diana’s human companions, I argue that Wonder Woman shows the insufficiency of a politics of heroic origins, suggesting agents must continually struggle to establish communities which do not ignore their historical failures or their powers to address these. Wonder Woman therefore provides important imaginative resources for resisting the kinds of seductive, exceptionalist political narrative it also presents. (shrink)

In contemporary histories of psychology, William Moulton Marston is remembered for helping develop the lie detector test. He is better remembered in the history of popular culture for creating the comic book superhero Wonder Woman. In his time, however, he contributed to psychological research in deception, basic emotions, abnormal psychology, sexuality, and consciousness. He was also a radical feminist with connections to women's rights movements. Marston's work is an instructive case for philosophers of science on the relation between (...) science and values. Although Marston's case provides further evidence of the role that feminist values can play in scientific work, it also poses challenges to philosophical accounts of value-laden science. Marston's work exemplifies standard views about feminist value-laden research in that his feminist values help him both to criticize the research of others and create novel psychological concepts and research techniques. His scientific work includes an account of the nature of psycho-emotional health that leads to normative conclusions for individual values and conduct and for society and culture, a direction of influence that is relatively under-theorized in the literature. To understand and evaluate Marston's work requires an approach that treats science and values as mutually influencing; it also requires that we understand the relationship between science advising and political advocacy in value-laden science. (shrink)

Gilbert Imlay’s 1793 epistolary novel The Emigrants, which dramatizes several characters’ journey across the Alleghenies to occupy and develop a tract in the Ohio country, features the use of allusions and commonplaces that illuminate this fiction’s provocative campaign to conciliate physiocracy, proto-feminism, and the new philosophy with the expulsion of indigenous people in the region. Imlay uses Pope, Sterne and Thomson to justify and eroticize U.S. expansiveness. The heroine Caroline T—n embodies, especially, the wondering, wonderful vindication of a world-historical land-grab. (...) Comparisons with contemporary stories by Chateaubriand, Blake, Radcliffe, and the Seneca leader known as the Cornplanter highlight ways in which Imlay—partaking of a rhetorical repertoire demonstrably familiar to his peers—mutes history, religion, appropriation, and aggression in favour of erotic appeal, a series of emblematic, excusatory metonymies, and the picturesque language of an early phase of the North American real estate pitch. (shrink)

Gilbert Imlay’s 1793 epistolary novel The Emigrants, which dramatizes several characters’ journey across the Alleghenies to occupy and develop a tract in the Ohio country, features the use of allusions and commonplaces that illuminate this fiction’s provocative campaign to conciliate physiocracy, proto-feminism, and the new philosophy with the expulsion of indigenous people in the region. Imlay uses Pope, Sterne and Thomson to justify and eroticize U.S. expansiveness. The heroine Caroline T—n embodies, especially, the wondering, wonderful vindication of a world-historical land-grab. (...) Comparisons with contemporary stories by Chateaubriand, Blake, Radcliffe, and the Seneca leader known as the Cornplanter highlight ways in which Imlay—partaking of a rhetorical repertoire demonstrably familiar to his peers—mutes history, religion, appropriation, and aggression in favour of erotic appeal, a series of emblematic, excusatory metonymies, and the picturesque language of an early phase of the North American real estate pitch. (shrink)

Wonder Woman's co‐creator William Marston believed that sexual bondage was key to achieving a peaceful society. Though Marston intended Wonder Woman to provide an alternative to the masculinity of the superheroes of his day, Marston's vision remains relevant today. The behavior and attitude of Marston's Wonder Woman anticipated contemporary feminist philosophers' contributions to the ethics of care. There is also an underlying ethics of care in Wonder Woman's role as what Marston calls (...) a "Love Leader", and that combination of kink and care is itself reflected in contemporary BDSM. Marston's stated goal in his academic writing was to promote "a new code of conduct, based on love supremacy". Marston's comic‐book creation, Wonder Woman, fit his depiction of an ideal Love Leader: a sexually alluring and powerful, yet loving, mistress whose feminine charms would make women and men submit to her authority. (shrink)

Wonder Woman wields a number of magical Amazonian devices: her bulletproof bracelets, her invisible plane, and most importantly for this chapter, her golden lasso of truth. The first thing to notice about the golden lasso is that evildoers bound by it are not only compelled to tell the truth if and when they answer questions, but also compelled to answer Wonder Woman's questions in the first place. The second thing to notice is that answering truthfully does (...) not, in this context, necessarily mean uttering a true sentence. Rather, if a person is tied up with the golden lasso, then they are compelled to answer questions with what they believe is the truth. The chapter shows the examples that contemplating Wonder Woman's golden lasso, and Bizarra's golden lasso, can provide us with a wealth of interesting and entertaining paradoxes and puzzles. (shrink)

Wonder Woman has evolved considerably since the Golden Age. (Thank Hera!) Different writers in different eras have tinkered with her back story and her resulting character. Yet throughout her many retellings people can point to two consistent trends: she is a warrior, and she protects the abused. As a warrior, her honor code isn't so different from bushido, the code of the samurai. She is selfless, fearless, relentless, and she even has a magic lasso to enforce the samurai (...) virtue of honesty. In the hands of her best writers, Wonder Woman is not a generic do‐gooder, nor is she a milquetoast rule follower. Though her moral motivations may shift from one author to the next, what is consistent throughout her many incarnations is that Wonder Woman is uniquely placed to be the samurai feminist, the only one who can reconcile bushido and care ethics. (shrink)

Gabrielle Suchon’s Treatise on Ethics and Politics offers surprising descriptions of sexual difference for an ostensibly feminist work. Stereotypically feminine traits—such as excessive emotions, chattiness, and deception—are compared to earthquakes, storms, wildfire, and apparitions. Although these descriptions may seem off-putting to modern readers, I argue that in offering these unflattering descriptions of women, Suchon is making a novel intervention in debates about the nature of sexual difference. In the Renaissance and Early Modern period, the salient question about feminine difference was (...) whether it was a preternatural deformity, and specifically a monstrosity. While most pro-woman authors argued that women were not preternatural, Suchon argues the affirmative, claiming that “persons of the sex are true wonders.” In doing so, Suchon presses on a tension at the heart of scholastic conceptions of women while also provoking an emotional response that might encourage men to reconsider whether patriarchal practices are truly to their advantage. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"A Woman's Thought Runs Before Her Actions":Vows as Speech Acts in As You Like ItWilliam O. ScottAbout a decade ago Susanne Wofford discussed As You Like It from the viewpoint that Rosalind uses a "proxy," her guise as Ganymede, in uttering "the performative language necessary to accomplish deeds such as marriage." 1 Thus Wofford complicated and qualified the success-oriented assumptions about performative usage of language as envisioned in (...) Austin's speech-act theories. 2 Her starting point was that (as Austin himself said) these performative usages don't have the same kind of force if they are included in a play; and so she proposed to take Rosalind's uses of vows as playful, both theatrically and personally. Her notion of the proxy, which raises questions too about the binding force of the speech act through the identity and tactics of the speaker, is especially apt in describing exactly what Rosalind does. Understandably Rosalind's performative manqué may be a prelude to the perfected form. Another complication suggests itself if one is going to attend to niceties of language usage: given that for Austin a performative procedure is founded on conventions of language, shouldn't one also examine such linguistic forms historically? For this play the most relevant form to consider historically is the vow.The precise formulation of vows, in espousal or marriage (both legally enforceable in church courts), was very important in early-modern England. One may wonder, then, what the formal requirements of [End Page 528] vows were, how much the analysis of them resembled and diverged from modern speech-act philosophy, and how the vows functioned. And one might ask such questions both about this play and about real-life practice. A more exact notion of vows may enrich our notions of Rosalind's playfulness with them and broaden our sense of the uses and tactics of performatives; and to the extent that this playfulness contrasts with Rosalind's serious (re)iteration of vows at the end of the play, we should give due weight to Carol Neely's suggestion that much of the pleasure for early-modern audiences lay in the body of the play rather than its conclusion. 3The actual vows between lovers would indeed lend themselves to historicized analysis of the speech acts that constitute them. The early-modern ecclesiastical court judge Henry Swinburne made something like that in his Treatise of Spousals, with his section "By what Form of Words Spousals de futuro are contracted," and similarly on the form of words in "Spousals de praesenti." 4 The implied time of effectiveness in the commitment to marriage is crucial in church law of the time, because it determines whether the vows are, respectively, a betrothal that promises a future marriage, or a present binding (whether inside or outside church) that becomes an instant marriage upon carnal consummation. Both these declarations of commitment are performatives (once reciprocated), and they are normally established by social convention, what Swinburne calls "the Common use of Speech or Custom" (p. 83). Swinburne also concerns himself with what amount to the conditions of "felicity" that are requisite to make the speech valid—for instance, who is allowed to contract spousals (cp. Austin, pp. 14–24).Both of these issues of timing and eligibility are important to Rosalind in the pretense of wedding in Act 4, Scene 1. As it is for Swinburne, the context is important: when Celia as priest asks, "Will you, Orlando, have to wife this Rosalind?" his answer "I will" is not good enough for Rosalind until he adds at her direction, "I take thee, Rosalind, for wife." 5 Likewise Swinburne considers at length the arguments whether there is a distinction between "I will" and "I do," and whether the future-sounding verb refers only to the beginning of a process and not its completion (pp. 8–9, 57–61). Though in general he allows the distinction (so that "I will" makes a spousal and "I do" a marriage), one of his exceptions sounds like the question that Celia first puts: "The Man demanding of the Woman whether she will take him to her Husband, she answereth [I will... (shrink)

Women's alienation seems to cling to their bodies like destiny. But what is a woman? An absurd question if ever there was one, since a man's virility seems so self‐evident that it would never occur to him to wonder what makes him a man. As a man, he is both the positive and the neuter term representing all humanity, while doubt is permitted in the case of woman, the negative pole whose elusive “femininity” we continue to pursue. (...) In fact, the problem comes from elsewhere because “Only the mediation of another can constitute an individual as an Other.” But what is the Other? This is a question we have not gotten beyond. The absolute Other might be the Black woman encountered in Africa, whom Simone de Beauvoir mentions in Letters to Nelson Algren. (shrink)

Interpreters of Theaetetus are prone to endorse the view that a god gave Socrates maieutic skill. This paper challenges that view. It provides a different account of the skill’s origins, and reconstructs a genealogy of Socratic philosophy that begins and has its end in human experience. Three distinct origins coordinate to bring forth a radically new conception of philosophy in the image of female midwifery: the state of wonder (1. efficient origin), the exercise of producing, examining and disavowing beliefs (...) in the gradual cultivation of human nature’s lack of skill (2. material origin), and Socrates’ understanding of god’s assistance as an endorsement of his mental infertility and the benefit of a particular form of dialectical training (3. formal origin). The paper concludes by arguing that Socrates transforms philosophy into a pursuit of wisdom that has its telos in becoming like a woman. (shrink)

The comic‐book superheroine Wonder Woman, who debuted in All Star Comics #8 in December 1941, was created by psychologist Dr. William Moulton Marston. Most of all, Marston was known for his work on lie detection. Because of the extensive work done on lie detection by her character's creator, it is commonly believed that Wonder Woman's lasso is a magic lie detector. As Matthew Brown says in his article "Love Slaves and Wonder Women: Radical Feminism and (...) Social Reform in the Psychology of Marston", according to Marston there were four basic emotions: inducement, submission, dominance, and compliance. Wonder Woman displays the strong quality of submission by wearing the bracelets of submission. She has an inducement/submission relationship with Aphrodite, which enables her to experience love. Both the bracelets of submission and the magic lasso of Aphrodite have been dropped from contemporary Wonder Woman comic books. (shrink)

In the past, Wonder Woman and Superman were depicted as good friends, but as of 2016, in New 52 Wonder Woman comic books, the Amazon princess and the man of steel are in a romantic relationship. The implication seems to be that romantically compatible people cannot be just friends. Thankfully, philosophy can help to debunk this notion and shed some light on the nature of friendship and romance as well. In consuming works of popular culture, people (...) learn what is expected of them in their interpersonal lives: cross‐gender relationships must be romantic, and friendship cannot be as important as romance. The loss of Wonder Woman and Superman as an example of a stable non‐romantic cross‐gender friendship therefore represents not just a change in the treatment of the characters, but a loss of support for the idea that such friendships are possible. (shrink)

Interpreters of Theaetetus are prone to endorse the view that a god gave Socrates maieutic skill. This paper challenges that view. It provides a different account of the skill’s origins, and reconstructs a genealogy of Socratic philosophy that begins and has its end in human experience. Three distinct origins coordinate to bring forth a radically new conception of philosophy in the image of female midwifery: the state of wonder, the exercise of producing, examining and disavowing beliefs in the gradual (...) cultivation of human nature’s lack of skill, and Socrates’ understanding of god’s assistance as an endorsement of his mental infertility and the benefit of a particular form of dialectical training. The paper concludes by arguing that Socrates transforms philosophy into a pursuit of wisdom that has its telos in becoming like a woman. (shrink)

Simon Peter undergoes a considerable development from his first introduction in the Gospel of Mark to later narratives, where he gains remarkable miraculous abilities. In Mark, he witnesses Jesus performing numerous miracles without himself being named as the performer of a single one, but in Matthew’s Gospel Peter walks on water (Matt 14:22–33), in Acts he heals two paralytics and raises a woman from the dead (Acts 3:1–10; 9:32–42), and in the fourth-century Latin Acts of Peter, also known as (...) Actus Vercellenses, he makes a dog speak (Acts Pet. 9.9–15), miraculously restores a shattered marble statue (11.8–23) and revives several people from the dead (27.1–11; 28.63–66). This article examines how Peter’s various miracles contribute to their respective stories, analyses how they reflect the needs of their respective authors, and discusses what they tell us about the use of genre in the narrative tradition about the apostle Peter and his miracles. (shrink)

It seems reasonable enough to assume that superheroes are heroes. First, heroes act to safeguard others. Second, heroes safeguard those around them, near or far, in a manner that's moral. Third, heroes safeguard those around them in an altruistic manner; they selflessly help others. Fourth, heroes safeguard those around them in a manner that is atypical, in ways that the unheroic are unwilling to act. Wonder Woman performs her daring feats, that is, with the agility of Mercury and (...) the steel sinews of a Hercules. Wonder Woman was always intended to be inspirational, to be an ideal toward which we could aspire. Her roots in feminism are testimony to this. This chapter considers the feminism that Marston reflects in Wonder Woman, freed and strengthened by supporting one another, women develop enormous physical and mental power, for using it to save the world from the hatreds and wars of men, and help humanity to find maturity. (shrink)

With attractive and scantily clad female characters, Zeus as a philandering womanizer, the First Born as a hyper‐masculine war monger, and Hera as a jealous wife blaming other women for her husband's infidelities, Wonder Woman (the New 52 series) confirms some age old stereotypes about men and women. But, Wonder Woman (the New 52) also challenges some traditional gender stereotypes. The end of the twentieth and beginning of the twenty‐first century have witnessed great strides in gender (...) equality for, among others, heterosexual women and members of the LGBTQ community. In one of the most important early books in twentieth‐century feminist philosophy, The Second Sex, philosopher and novelist Simone de Beauvoir explores women's inequality to men. The chapter considers the transformation of Hera throughout Wonder Woman (the New 52) as an existential movement from immanence to transcendence. (shrink)

Killing is a topic that divides superhero fans like no other. Wonder Woman is a curious case, though. Traditionally associated with compassion and love, Diana is also a fierce warrior. While seeing Wonder Woman's choice through the lens of moral philosophy, it would seem that the deck is stacked against Lord in terms of one school of ethics, consequentialism. Consequentialism requires that we make a moral decision by choosing the option with the best (or least bad) (...) outcomes. The simple math dictates that Wonder Woman can guarantee the least loss of life by killing Max Lord. The decision Wonder Woman faced with respect to Max Lord closely resembles the one Superman faced when three renegade Kryptonians, each more powerful than Superman, wiped out the entire population of an Earth in an alternate dimension and threatened to do the same in his. (shrink)

Final Crisis was an event comic produced by DC Comics in 2008 and written by Grant Morrison. In the story, the villain Darkseid takes over the minds of a majority of the Earth's population, including many of its superheroes. Wonder Woman is a notable exception. When one digs into the history of Wonder Woman, though, it isn't difficult to see from where Morrison is coming. This chapter examines a term Zizek uses alongside his discussion of fetishes, (...) the "symptom". In everyday use, it is easy to confuse what Zizek calls a symptom. If Morrison finds the concept of Wonder Woman to be bogus in light of the kinky sexuality associated with her origin, one could see his portrayal of Wonder Woman in Final Crisis as an attempt to bring to light the repressed truth underneath the surface of her image as a feminist icon. (shrink)

W.M. Marston introduced the magic lasso in Wonder Woman's origin story: created under the direction of the goddesses Aphrodite and Athena, it compelled anyone bound by it to obey whatever commands they were given. Princess Diana not only had to prove herself champion of the Amazons, but also devoted to the goddesses, to love and wisdom itself, before she was granted this "power to control others". To borrow from the Greek philosopher Plato's allegory: with the lasso, a person (...) can be dragged from the shadowy cave of ignorance into the light of truth and knowledge, whether they want to or not. It's this version of the lasso that this chapter focuses on. The chapter discusses four basic approaches to ethics that make good touchstones for this conversation. Although the Amazons have refined their combat skills over centuries, it is their core ethos to seek, whenever possible, non‐violent methods of preventing harm or addressing a threat. (shrink)

The award-winning novel Convenience Store Woman by Sayaka Murata, first published in 2016 as コンビニ人間 (Konbini ningen), has received a lot of media attention from readers of both the original Japanese version and the English translation. For some, the novel depicts the wonder and vulnerability of a culture of convenience and conformity, while others have suggested that it highlights the gender discrimination faced by women in contemporary Japan. Yet the novel is ripe for analyses from other perspectives. This (...) paper presents one such new approach to analysing Murata’s Convenience Store Woman: its social-cum-auditory aesthetic. The theory of social aesthetics, developed by Arnold Berleant, essentially holds that there are perceptive values to be found not only in objects but also in social situations. The paper will argue that the convenience store’s environment – the social interactions, and soundscape presented in the novel – invokes and evokes a variety of aesthetic qualities, among them ‘acceptance’, ‘sensuousness’, and ‘reciprocity’. Combining a re-reading methodology and an application of Berleant’s social aesthetics theory, I will show how these sensibilities can be observed through the experiences of Keiko Furukawa, a life-long convenience store worker and the novel’s protagonist. Specifically, the focus will be on Keiko’s auditory sensibilities. (shrink)

Aphrodite, Athena, Mercury, and Hercules are all interesting characters from Greek Mythology, and William Moulton Marston makes it clear that their powers now "fight for America" in World War II. Wonder Woman's "Merciful Minerva!" uses the Roman name for Athena, and it is clear that her physical power and skill with weaponry is based on the ancient goddess. Wonder Woman's origin story uses the ancient Greek in exactly the same way the philosopher Georg Wilhelm Friedrich Hegel (...) does in his Philosophy of History. Hegel outlined his theory of history as a threefold progression. In the first stage, only the despot was free; in the second stage, the Greeks discovered that some are free; and in the third stage, the stage of the modern world, we know that all are free. The Wonder Woman origin story goes through the same three major stages, and uses the Greeks in that crucial second stage. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 234-236 [Access article in PDF] Book Review Dreaming Me: An African American Woman's Spiritual Journey Dreaming Me: An African American Woman's Spiritual Journey. By Jan Willis. New York: Riverhead Books, 2001. 321 pp. This book invites comparison with Diana Eck's Encountering God: A Spiritual Journey from Bozeman to Banaras(Boston: Beacon Press, 1993). Both are by prominent women scholars, both have "spiritual journey" in (...) the subtitle, and both are about Christians who come to terms with a non-Christian religion—Hinduism in Eck's case, Buddhism in Willis's case. But as soon as one gets past the titles, it is the differences that strike one. Where Eck maintains an Olympian poise, hobnobbing with Hindus but remaining a Christian and an objective scholar, interpreting and analyzing as she goes, Willis plunges into Buddhism without rejecting her family's Baptist tradition, becoming a fully participant observer so as to ask how her own history and the history of her fellow African Americans can be healed by an intensely personal internal dialogue. Eck gives us theology. Willis gives us herself. Recognized as "one of the first American scholar-practitioners of Tibetan Buddhism" (294), her students ask her if she practices meditation as well as teaching it. She gives a carefully crafted answer that unifies the practice of Buddhism with the practice of academic teaching as an authentically human activity within the Humanities.The book has the form of a Hindu epic, incidents from Willis's life interrupting the frame story, the dreaming of the title. This dream (whether actual or metaphorical, we are not told) moves with considerable dramatic power from the terror of being pursued by lions to the dreamer's transformation into a lioness who roars the Dharma like Queen Shrimala. Its five parts are called Birth, Odyssey, Choices, Becoming, and Return, taking us from her childhood as a Baptist in Docena, Alabama, to Cornell University, to India and Nepal, and back to Docena, as a self-described Baptist-Buddhist (310).Willis's journey is intimately bound up with her search for self-acceptance as a "white gal"—a noticeably light-complexioned black woman in the Jim Crow South —and for the nobility of African Americans as fully human beings. Her early experiences [End Page 234] were not encouraging. Blacks were not only physically segregated in Docena, they were electronically expunged from television shows by spurious technical difficulties ("trouble along the cable"), and she endured an attack by the Ku Klux Klan on her family's home. The customary but thoroughly illegal suffrage examination administered to her father included such questions as "How many words are there in the U.S. Constitution?" (58, italics in original). He had been specially prepared for such absurdities, and he passed. Midway in her pilgrimage Willis searches for her roots (or "kin," as she says, using the Southern word) in county and federal records, and her initial excitement turns to humiliation as the white historian tells her, with disdainful triumph, that her intelligence must have come from the white slave owner who "everybody says" was her "granddaddy's daddy" (251). A black woman was presumed to be lacking in native intelligence, and Willis's intellectual powers suffered insult not only from whites but from her own mother, who, perhaps having internalized the white folks' contempt, regarded being smart as somehow evil (25). As a student at Cornell, Willis discovered black power and participated in Black Student Alliance (BSA) demonstrations, sometimes involving guns, but she came to believe that direct political action was not for her. She was, she decided, a teacher at heart, and after much soul searching she opted for the "peaceful transformation" (129) that she hoped would come from the study and practice of Buddhism.Although her skin color was a puzzlement to some Indians, who wondered about her caste, her Tibetan teachers in Nepal accepted her as a student who was at least the equal of the white students, and even, perhaps, superior to them. A spot of blonde in her hair was interpreted as the... (shrink)

In this essay I show that texts by early Caribbean women writers, such as the Wonderful Adventures of Mrs. Seacole in Many Lands, reveal and resist the effects of colonial paradigms by leaving textual traces of how such paradigms can effectively be countered and overturned. I arrive at such a reading of Seacole via an analysis of Frantz Fanon's reading of Mayotte Capécia's turn-of-the-century novel, Je suis martiniquaise, in light of advances in postcolonial and feminist theory. I argue that doing (...) so can bring us to recognize the contributions that early writings by Caribbean women have made to a broader understanding of the nature of being, across differences of “race,” class, and geography. I consider how we might recover in Capécia important models that Fanon himself replicates, yet dismisses, that predate Capécia's own text and that can be located in a text like Seacole's. In the end, I come to contend that Mary Seacole's text is more than a mere record of a “free colored” woman's life in the second half of the nineteenth century. It is, to use today's postcolonial parlance, an interventionist, hybrid text that attempts to subvert dominant discourse while participating in its circuits. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Women Philosophers of the Seventeenth Century, and: Anne Conway: A Woman PhilosopherJane DuranWomen Philosophers of the Seventeenth Century, by Jacqueline Broad; 204 pp. Cambridge: Cambridge University Press, 2002. $65.00. Anne Conway: A Woman Philosopher, by Sarah Hutton; 280 pp. Cambridge: Cambridge University Press, 2004. $75.00.Recent work on women philosophers has, in general, approached the topic from two vantage points: on the one hand, a number of (...) anthologies have been published, wherein commentators present a small portion of the woman thinker's work, often without the background necessary for a fuller understanding. On the other hand, some few women philosophers have been the subject of full-length works, but these have tended, by and large, to be women thinkers of the twentieth century, with whose work we are already familiar. Two recent books, one by Jacqueline Broad and the other by Sarah Hutton, go a long way toward improving the situation.Work by Eileen O'Neill, Sarah Hutton and Margaret Atherton, among others, has helped familiarize us with the notion that the seventeenth century—that era so commonly associated with Descartes and the rise of modern philosophy—was also a time of rich theorizing by women philosophers. Jacqueline Broad's book possesses many virtues: it has the finely-tuned style of the careful historian, while at the same time not failing to demonstrate acquaintance with a range of contemporary feminist commentary. Part of the problem in addressing women thinkers of the past is another version of what we are now tempted to call the essentialism problem: does it make sense to think that there is a style that might be demarcated as "feminine," or that might, in some way, pertain uniquely to women theorists? These are difficult issues, but a partial response to the question is to try to remember that it is not for no reason that women thinkers have, indeed, been left out of the canon. As Broad herself says, women philosophers "are now mere footnotes to the standard historical-intellectual accounts of the early modern period" (p. 1).Broad does a superb job of navigating between the need to set out the plain tenets of the thinker's philosophy, and the desire to try to tie it into these larger questions. In six chapters, she addresses the work of Elizabeth of Bohemia, [End Page 200] Margaret Cavendish, Anne Conway, Mary Astell, Damaris Masham and Catharine Trotter Cockburn The chapters on Elizabeth, Margaret Cavendish and Mary Astell are particularly strong—here part of the difficulty is that we do have familiar commentaries addressing the work of these women, and it is hard to try to see them in a new light. We are accustomed, for example, to think of Elizabeth merely as Descartes's correspondent. As is the case with information that is currently coming to bear on the question of Harriet Taylor Mill's input into the work of John Stuart Mill, it is difficult for us to see Elizabeth as a thinker in her own right, or, indeed, to give her the credit that Descartes himself gave her; as Broad notes, he had described her as "the only person I have so far found who has completely understood all my previous works" (p. 13). Margaret Cavendish's reputation has suffered from the somewhat scattered approach of her writings, and Broad cites her "reputation for eccentricity" (p. 38). Nevertheless, the sheer volume of her work and its allusion to the problems addressed by the Cambridge Platonists (areas also worked on by Anne Conway) demands that she be taken far more seriously than she has in the past. Astell has become known largely for her more overtly feminist works, such as A Serious Proposal to the Ladies, but she was also the author of several other pieces addressing issues in metaphysics, and again the amount of her work and its citation during her own time would militate against the notion that it should not receive thorough examination.Broad does a wonderful job of setting out the main philosophical questions found in these theorists' works, and she excels at pitting their views against those of the various male philosophers whose work—according to... (shrink)

Khandro Rinpoche: A Needle Compassionately Sticking Out of a Cushion -- Dagmola Sakya: From the Palace to the Blood Bank -- Tenzin Palmo (Diane Perry): Sandpaper for the Ego -- Sangye Khandro (Nanci Gay Gustafson): Enlightenment Is a Full-time Job -- Pema Chödrön (Deirdre Blomfield-Brown): Relaxing into Groundlessness -- Elizabeth Mattis-Namgyel: A Wonder Woman Hermit -- Chagdud Khadro (Jane Dedman): Like Iron Filings Drawn to a Magnet -- Karma Lekshe Tsomo (Patricia Zenn): Surfing to Realization -- Thubten Chodron (...) (Cherry Greene): A Rebel in Robes -- Roshi Joan Halifax: Fearless, Fierce, and Fragile -- Tsultrim Allione (Joan Rousmanière Ewing): The Enlightened Feminist -- Khandro Tsering Chödron: The Queen of Dakinis. (shrink)

This article seeks evidence of Herodotus's conception of his historical enterprise in the recurring scenes in which he portrays barbarian kings as inquirers and investigators. Through these scenes-involving most notably Psammetichus, Etearchus, Croesus, Cyrus, Cambyses, Darius, and Xerxes-the historian not only explores the character of autocrats, but also holds up a mirror to his own activity as inquirer. Once we recognize the metahistorical dimension of Herodotus's representation of inquiring kings, we can better understand the scenes in which these figures appear (...) and the historian who sees his own enterprise reflected or distorted in their efforts. I argue first that the tale of Darius's inquiry concerning the Paeonian wonder-woman is a paradigmatic Herodotean treatment of kingly inquiry in the way the historian both identifies with, and distances himself from, his kingly investigator. I then assess kingly research under three headings that reflect some of the many ways that Herodotean kings use and abuse investigation: Measurement and Self-Aggrandizement; Exploration and Conquest; Trial, Torture, and Test. Under the final rubric, kingly experiments are the focus, some involving human subjects , others involving the divine . Herodotus's extensive analysis of inquiring kings indicates that any earlier investigator-measurer, explorer, or experimenter-is a potential rival for him. If Herodotus is conscious that he is following in the footsteps of inquiring kings, however, his critique of their techniques and motives suggests that his inquiry is intellectually and ethically superior to theirs. Ultimately, then, Herodotus's exploration of regal investigation helps both to define and to lend authority to the historiê that he undertakes in the Histories. (shrink)

Exploring a variety of female superhero narratives, including Wonder Woman comics and television shows like The Secrets of Isis, The Bionic Woman, and Buffy the Vampire Slayer, this book argues that twentieth-century superheroine stories historically depicted education as the path to female liberation and empowerment.

The verb “to conjure” is a complex one, for it includes in its standard definition a great range of possible actions or operations, not all of them equivalent, or even compatible. In its most common usage, “to conjure” means to perform an act of magic or to invoke a supernatural force, by casting a spell, say, or performing a particular ritual or rite. But “to conjure” is also to influence, to beg, to command or constrain, to charm, to bewitch, to (...) move or convey, to imagine, to visualize, to call to mind, or to remember. —Rachael DeLue 2012, para 1. When we create with our Brown hands, feminine energy, and full spirits, we conjure. To exist, survive, and thrive in these bodies is a continuous act of conjuring. Our walks conjure. Our smiles conjure. Our tears conjure. Our laughs conjure. Our words conjure. Our artworks are conjurings. We, a Black/Filipina-American woman, a Dominican-American, and a Black-American woman, are guided by our solidarity with one another and all other Black and Brown female identifying persons whose raced and gendered subjectivities exist both inside and outside of colonization, white supremacy, and patriarchy. We bring to life our colored imaginations and curiosities, and share them with the world. We are united by our need for safety, autonomy as beings, dissolution of trauma, and desire to ask, “What would happen if I…?” Imaginative, curious Women of Color (WoC) founded the underground railroad, guided captured Africans and Tainos to the mountains, ignited the Civil Rights Movement, organized laborers and immigrants, birthed the #BlackLivesMatter Movement, conceived the #MeToo Movement, and so much more. Like our kindred counterparts, we have an unrelenting urge to examine, question, wonder, desire, speak to, lead, be curious, and “conjure.” As practicing artists and art educators, our critical arts-based practices are grounded in intersectional feminisms like Womanism, Black Feminist Theory, and Chicana Feminist Theory, which allow us to do these very things. (shrink)

A woman, perhaps a couple, learn they are pregnant. Perhaps she is elated for this desired news. Perhaps she is also overwhelmed or scared by the daunting task of parenthood ahead. Then, a prenatal screening reveals something worrisome about the fetus. A tumbling series of appointments and exams confirm the concerning findings. As Pope Francis notes, this news “changes the experience of pregnancy.” In place of optimistic wonderment for the future, parents now have new worries about whether their baby (...) will have a shortened life, experience suffering, or face many medical interventions in order to survive. I am a pediatric and perinatal palliative care doctor. I am often called to meet these wounded yet resilient... (shrink)

The politics of the us/them or West/East divide forms the backdrop to philosophizing about, for and by women in India. Starting with an awareness that “Western woman” cannot mean the same as “Indian woman,” the philosopher here is easily led to an antiessentialism and explosion of a monolithic idea of woman. With such diffusion comes also a variegation in a monochrome “feminism”; for if subjects are multiple, so also are the blueprints for their emancipation. Resting content with (...) a plurality of feminisms might seem an obvious solution here; but then, it is also natural to wonder whether a simple grammatical pluralization can create space for genuine conceptual diversity, given the entrenched (and Western) associations of the term. (shrink)

“One is not born a woman, but becomes one”, Simone de Beauvoir A symbol of liberated womanhood, Simone de Beauvoir's unconventional relationships inspired and scandalised her generation. A philosopher, writer, and feminist icon, she won prestigious literary prizes and transformed the way we think about gender with The Second Sex. But despite her successes, she wondered if she had sold herself short. Her liaison with Jean-Paul Sartre has been billed as one of the most legendary love affairs of the (...) twentieth century. But for Beauvoir it came at a cost: for decades she was dismissed as an unoriginal thinker who 'applied' Sartre's ideas. In recent years new material has come to light revealing the ingenuity of Beauvoir's own philosophy and the importance of other lovers in her life. This ground-breaking biography draws on never-before-published diaries and letters to tell the fascinating story of how Simone de Beauvoir became herself. (shrink)

Numerous ancient sources attest that Artemisia of Halicarnassus, a fifth-century BCE tyrant whose polis came under Persian rule in 524 BCE, figures prominently in Xerxes’ naval campaign against Greece. At least since Pompeius Trogus’ first-century BCE Philippic History, interpretations of Artemisia have juxtaposed her “virile courage” (uirilem audaciam) with Xerxes’ “womanish fear” (muliebrem timorem) primarily as a means of belittling the effeminate non-Greeks. My paper argues that although Herodotus is aware of such interpretations of Artemisia, he depicts her primarily as (...) an excellent counsel, a woman who is not only brave in battle, but who is a wonder primarily because of her intellectual excellences in deliberative rhetoric and “geo-political” strategy in the Greco-Persian world. (shrink)